Jekyll & Hyde: A Musical Thriller
by Mc5TenforTwo
Summary: Fan screenplay adaptation of the Leslie Bricusse/Frank Wildhorn tuner, based largely on the FCLO version of the show, with a twist of the "Resurrection" recording in there as well. THIS IS PURELY A FAN EFFORT AND SHOULD NOT BE CONSTRUED AS AN OFFICIAL SCREENPLAY OF ANY KIND. I OWN NONE OF THIS.
1. Title Page

JEKYLL AND HYDE

Adaptation by  
>Paul Hadobas &amp; Jan Duncan<p>

Screenplay by  
>Mc5TenforTwo<p>

Lyrics by  
>Leslie Bricusse<p>

Music by  
>Frank Wildhorn<p>

Based on the Stage Musical  
>"Jekyll &amp; Hyde"<p>

Conceived for the stage by Steve Cuden & Frank Wildhorn  
>Book &amp; Lyrics by Leslie Bricusse<br>Music by Frank Wildhorn

Screenplay  
>Copyright © 2014 Mc5TenforTwo<p> 


	2. Cast of Characters

CHARACTERS

_(In order of appearance)_

** HENRY JEKYLL  
>** AN INMATE<br>** SIR DANVERS CAREW  
>** SIMON STRIDE<br>** THE BOARD OF GOVERNORS: Sir Archibald Proops, Lord Savage, General Lord Glossop, Lady Beaconsfield, The Bishop of Basingstoke  
>** GABRIEL JOHN UTTERSON<br>** EMMA CAREW  
>** NELLIE<br>** LUCY HARRIS  
>** POOLE, manservant<br>** EDWARD HYDE  
>** BISSET, apothecary<br>** PEOPLE OF LONDON: aristocrats, street people, prostitutes, servants, society guests, policemen, customers


	3. Song List

MUSICAL NUMBERS

_(Broken down by chapter)_

**Chapter One**

PROLOGUE / I NEED TO KNOW - Jekyll  
>FAÇADE - The Company<br>JEKYLL'S PLEA - Jekyll & the Board of Governors  
>STRIDE'S APOLOGY - Stride<br>PURSUE THE TRUTH / FAÇADE (Reprise) - Jekyll, Utterson, Company

**Chapter Two**

EMMA'S REASONS - Emma & Stride  
>I MUST GO ON - Jekyll &amp; Emma<br>TAKE ME AS I AM - Jekyll & Emma  
>STRIDE'S CONFESSION - Stride<p>

**Chapter Three**

BRING ON THE MEN - Lucy & Girls  
>LUCY MEETS JEKYLL - Lucy &amp; Jekyll<br>THE GIRLS OF THE NIGHT - Nellie, Lucy & Girls

**Chapter Four**

NOW THERE IS NO CHOICE - Jekyll  
>THIS IS THE MOMENT - Jekyll<br>TRANSFORMATION - Jekyll & Hyde  
>ALIVE - Hyde<p>

**Chapter Five**

IF YOU ONLY KNEW - Emma  
>SYMPATHY, TENDERNESS - Lucy<br>SOMEONE LIKE YOU - Lucy  
>ALIVE (Reprise) - Hyde<p>

**Chapter Six**

MURDER, MURDER - The Company

**Chapter Seven**

ONCE UPON A DREAM - Emma  
>NO ONE KNOWS WHO I AM - Lucy<br>IT'S A DANGEROUS GAME - Lucy & Hyde

**Chapter Eight**

REFLECTIONS (Jekyll's Soliloquy) - Jekyll  
>IN HIS EYES - Emma &amp; Lucy<br>THE WAY BACK - Jekyll

**Chapter Nine**

A NEW LIFE - Lucy  
>SYMPATHY, TENDERNESS (Reprise) - Hyde<br>THE WORLD HAS GONE INSANE - Jekyll  
>CONFRONTATION - Jekyll &amp; Hyde<p>

**Chapter Ten**

FAÇADE (Reprise) - Stride & Company  
>LETTING GO - Danvers &amp; Emma<br>THE WEDDING - Jekyll, Emma & Company  
>ONCE UPON A DREAM (Reprise) - Emma &amp; Jekyll<p> 


	4. Chapter 1

FADE IN:

EXT. NEGLECTED SQUARE BEHIND HARLEY STREET - LONDON - DAY

A thick ribbon of grey-brown fog drifts across the square,  
>and hangs suspended before a soiled red brick wall, several<br>stories in height, with a single low wooden door, and not one  
>window. If there were once windows, they have been bricked or<br>boarded up long ago: a forbidding façade which adamantly  
>holds something out... or holds something in?<p>

Occasionally the fog is penetrated by the mournful wail of a  
>river barge's horn, by the sound of iron-shod horses' hooves<br>and iron wheels on cobblestones; then, startlingly, by the  
>shriek of a small animal being slaughtered, not far away. The<br>shriek is silenced, to be followed, seconds later, by an  
>ascending wisp of innocent unearthly voices, as though a soul<br>or souls were winding upward through the fog and blending,  
>vanishing into the ether - "the angels weeping," an<br>indecipherable yet unforgettable sound we will hear again,  
>occasionally, throughout the film.<p>

Strange noises and threatening technological thrums build to  
>an atmosphere of ominous anticipation. On a final crashing<br>chord, lightning and thunder hit.

MUSIC: "PROLOGUE"

**JEKYLL (V.O.)**  
><em>(hushed and fevered, out<br>of the darkness)_  
>In each of us there are two<br>natures. If this primitive duality  
>of man – good and evil – could be<br>housed in separate identities, life  
>would be relieved of all that is<br>unbearable. It is the curse of  
>mankind that these polar twins<br>should be constantly struggling.

On a sharp dissonant chord, the fog and the high soiled brick  
>wall dissolve, to reveal what was once within:<p>

INT. JEKYLL'S LABORATORY

It would be spacious, were it not crowded with tables  
>intersecting at bizarre angles with other tables, all laden<br>with vials, Bunsen burners, beakers, retorts, glass tubing,  
>every sort of chemical equipment, with various brilliantly<br>colored drugs and compounds glowing inside; and with more  
>gleaming glass presses with more gleaming scientific<br>paraphernalia inside them; and with models of human busts  
>and skulls with the insides revealed; and with charts<br>and graphs and tablets, recording hundreds of previous  
>experiments; and with numerous gas jets giving off a<br>pure sterile glow; all dominated by an enormous, gilt-framed  
>mirror.<p>

We pan past a clothes rack with old hat & coat hanging from  
>it; a drain basin; a wash basin, with a pitcher and towel;<br>and arrive at a writing table topped with a hand-dimming  
>hurricane lamp, an island surrounded by the sea of scientific<br>apparatus. A thick journal of previous work lies open on the  
>desk. Not sitting, a MAN (DR. HENRY JEKYLL) leans over the<br>journal, writing rapidly, pausing only to dip his pen in the  
>inkwell.<p>

SONG: "I NEED TO KNOW"

(Note: All lyrics appear in CAPS.)

**JEKYLL**  
>I NEED TO KNOW<br>THE NATURE OF THE DEMONS  
>THAT POSSESS MAN'S SOUL!<br>I NEED TO KNOW  
>WHY MAN'S CONTENT TO<br>LET THEM MAKE HIM  
>LESS THAN WHOLE<p>

During the following verse, Jekyll crosses to wash bowl,  
>pours water and washes, then dries his hands on a towel.<p>

**JEKYLL (CONT'D)**  
>WHY DOES HE REVEL<br>IN MURDER AND MADNESS?  
>WHAT IS IT MAKES HIM BE<br>LESS THAN HE SHOULD?  
>WHY IS HE DOOMED<br>NOT TO REACH HIS POTENTIAL?  
>HIS SOUL IS BLACK<br>WHEN HE TURNS HIS BACK  
>UPON GOOD<p>

I NEED TO FIND  
>A WAY TO GET INSIDE<br>THE TORTURED MIND OF MAN  
>I NEED TO TRY<br>TO SEPARATE THE  
>GOOD AND EVIL... IF I CAN<p>

He moves to a table (any table will do), and begins mixing  
>some chemicals.<p>

**JEKYLL (CONT'D)**  
>ONE THING IS CERTAIN -<br>THE EVIL IS STRONGER  
>GOOD FIGHTS A HOPELESS AND<br>DESPERATE FIGHT  
>I MUST FIND WAYS<br>OF ADJUSTING THE BALANCE  
>TO BRING HIM BACK<br>FROM THE EMPTY BLACK  
>EDGE OF NIGHT!<p>

I NEED TO GO  
>WHERE NO MAN HAS VENTURED BEFORE<br>TO SEARCH FOR THE KEY TO THE DOOR  
>TO END ALL THIS SENSELESS AND<br>TRAGIC DECAY!  
>BUT HOW TO GO?<br>I NEED TO KNOW!

Seizing the hat and coat from the rack, he throws them round  
>him with a violent gesture and ventures out of the lab.<p>

EXT. SQUARE BEHIND HARLEY STREET - DAY

Jekyll leaves the building from our opening, which is...

...a very different building indeed from how we first saw it.  
>There are several windows, not bricked over; it looks like a<br>respectable middle-class home. The winds of time have  
>restored this once magnificent building from its former<br>shabbiness. (It should feel as though the film has just  
>switched from black and white to color, without the literal<br>effect.)

Jekyll is striding down the street purposefully and fiercely  
>in an authoritative and single-minded mood. We truly see him<br>for the first time. Young, ardent, perfectly turned-out.

**JEKYLL**  
>I NEED TO LEARN<br>THE SECRETS OF THE MIND  
>THAT WE CANNOT DISCERN<br>I NEED TO LEARN  
>THE THINGS THAT MAKE<br>MEN PASS THE POINT OF NO RETURN

WHY DOES A WISE MAN  
>TAKE LEAVE OF HIS SENSES?<br>WHERE IS THAT FINE LINE  
>WHERE SANITY MELTS?<br>WHEN DOES INTELLIGENCE  
>GIVE WAY TO MADNESS?<br>A MOMENT COMES WHEN A MAN BECOMES  
>SOMETHING ELSE...<p>

I NEED TO KNOW  
>WHY MAN PLAYS THIS STRANGE<br>DOUBLE GAME!  
>HIS HAND ALWAYS CLOSE TO THE FLAME!<br>IT'S A DEAL WITH THE DEVIL  
>HE CANNOT DISCLAIM!<br>BUT WHAT'S HIS AIM?  
>I NEED TO KNOW!<p>

INT. ST. JUDE'S HOSPITAL WARD

The violent ward of a modern (circa 1888) mental hospital.  
>Bodies are spread-eagled, stripped or partially covered,<br>strapped to wooden tables. A sour smell of sickness and  
>delusion permeates everything. SIR DANVERS CAREW, a gentleman<br>in his late years, serious and correct, is making his rounds  
>and speaking with another DOCTOR.<p>

A high partition of glass encloses the ward. Beyond the glass  
>we can see DOCTORS, NURSES, ATTENDANTS, and the visiting<br>PUBLIC, moving about in their curious soundless world,  
>ignoring, or glancing disinterestedly into, the violent ward.<p>

Jekyll enters, having reached his apparent destination.

**JEKYLL**  
>DEAR GOD, GUIDE ME...<br>SHOW ME HOW TO SUCCEED!  
>WITH YOUR WISDOM INSIDE ME,<br>HENRY JEKYLL WILL FOLLOW  
>WHEREVER YOU LEAD!<p>

I NEED TO SEE  
>THE TRUTH OTHER MEN CANNOT SEE<br>TO BE THINGS THAT OTHERS CAN'T BE  
>GIVE ME THE COURAGE TO GO<br>WHERE NO ANGEL WILL GO  
>AND I WILL GO!<br>I NEED TO KNOW!

On the final chord of the MUSIC, there is a chilling outcry,  
>and a combative OLD MAN in a wheelchair appears, pushed by a<br>NURSE. As she struggles to put him in restraints, he screams  
>and fights her. Jekyll rushes to take over the situation. He<br>removes the restraints and he tries to calm the old man.

DANVERS observes for a moment, nods to the nurse to excuse  
>her.<p>

**DANVERS**  
>He's beyond help, Henry.<p>

**JEKYLL**  
>That's no reason to treat him like<br>an animal! He's still a man.

Jekyll calms the old man and covers him with his lap robe.

**DANVERS**  
>But he behaves like an animal,<br>Henry. He's dangerous! Catatonic  
>one minute, then unprovoked attacks<br>the next...

**JEKYLL**  
>Sir Danvers, he still has emotional<br>responses as sensitive as any of  
>ours! He's a prisoner. How can we<br>call ourselves civilized, if we are  
>not prepared to help him...<br>_(gesturing to the other_  
><em>bodies, strapped to<em>  
><em>tables, all around him)<em>  
>...and every wretched soul like him?<p>

**DANVERS**  
>Death will help him, Henry.<p>

**JEKYLL**  
>There is a better solution.<p>

**DANVERS**  
>He is lost, Henry! You will never<br>reach him.

**JEKYLL**  
>I have to try!<p>

**DANVERS**  
>You have tried everything!<p>

**JEKYLL**  
>Not true! Drugs can catalyze this –<br>a combination of rare drugs –

**DANVERS**  
>Henry, these "experiments"...!<br>You're a gifted man, Henry.  
>Cultivate your life here at the<br>hospital. I want a son-in-law I can  
>be proud of.<p>

Jekyll continues to stare down at the old man, as a doctor  
>draws Sir Danvers aside.<p>

Jekyll goes to the old man, kneels by his side. The old man  
>is now resting peacefully. In the background, we gradually<br>become aware of the distant, oddly rhythmic sound of heavy  
>footsteps, many of them, on cobblestones, almost like an<br>uprising or demonstration, moving toward us from far away and  
>underneath...<p>

Jekyll tenderly kisses the old man's cheek and embraces him,  
>as he gets his hat and prepares to leave.<p>

**JEKYLL**  
>Good night, Father.<p>

As he turns away, and follows the departed Sir Danvers, the  
>sound of many footsteps draws nearer and nearer.<p>

SMASH CUT TO:

EXT. STREETS OF LONDON (CREDITS SEQUENCE) - DAY

MONTAGE: Quick documentary images and sounds. Heightened.  
>The cinematic equivalent of turning a radio dial through<br>1880's London. Beggars. Hawkers. Stevedores and sailors on  
>their way to the quay. Ladies and gentlemen of quality, and<br>of no quality. Tradesmen. Tradeswomen.

(NOTE: The choices in editing determine which lines might be  
>solos, as well as who should sing them. Solos listed below<br>are merely a suggestion.)

SONG: "FAÇADE"

**FIRST MAN**  
>THERE'S A FACE THAT WE WEAR<br>IN THE COLD LIGHT OF DAY  
>IT'S SOCIETY'S MASK<br>IT'S SOCIETY'S WAY  
>AND THE TRUTH IS<br>THAT IT'S ALL A FAÇADE!

**SECOND MAN**  
>THERE'S A FACE THAT WE HIDE<br>TILL THE NIGHTTIME APPEARS  
>AND WHAT'S HIDING INSIDE<br>BEHIND ALL OF OUR FEARS  
>IS OUR TRUE SELF LOCKED<br>INSIDE THE FAÇADE!

**ALL**  
>EVERY DAY,<br>PEOPLE IN THEIR OWN SWEET WAY  
>LIKE TO ADD A COAT OF PAINT<br>AN' BE WHAT THEY AIN'T!

**FIRST MAN**  
>THAT'S HOW OUR LITTLE<p>

**ALL**  
>GAME IS PLAYED<br>LIVIN' OUT A MASQUERADE -  
>ACTIN' A BIZARRE CHARADE<p>

**THIRD MAN**  
>WHILE PLAYING THE SAINT!<p>

BUT THERE'S ONE THING I KNOW -  
>AN' I KNOW IT FOR SURE -<br>THIS DISEASE THAT WE'VE GOT  
>HAS GOT NO READY CURE -<br>AN' I'M CERTAIN  
>LIFE IS TERRIBLY HARD<p>

**ALL**  
>WHEN YOUR LIFE'S A FAÇADE!<p>

**WOMEN**  
>LOOK AROUND YOU<br>I HAVE FOUND YOU CANNOT TELL  
>BY LOOKIN' AT THE SURFACE<br>WHAT IS LURKIN' THERE BENEATH IT!

**FIRST WOMAN**  
>SEE THIS FACE -<br>NOW I'M PREPARED TO BET YOU  
>WHAT YOU SEE'S NOT WHAT YOU GET -<br>'CAUSE MAN'S A MASTER OF DECEIT!

**ALL**  
>SO WHAT IS THE SINISTER SECRET?<br>THE LIE HE WILL TELL YOU IS TRUE?

**FOURTH MAN**  
>IT'S THAT EACH MAN YOU MEET<br>IN THE STREET ISN'T ONE MAN,  
>BUT TWO!<p>

**CROWD**  
>NEARLY EVERYONE YOU MEET<br>WHILE WALKING DOWN A LONDON STREET  
>PRETENDS TO BE A PILLAR OF SOCIETY!<p>

**WOMEN**  
>A MODEL OF PROPRIETY,<p>

**MEN**  
>SOBRIETY AND PIETY<p>

**WOMEN**  
>WHO SHUDDERS AT THE THOUGHT OF<br>NOTORIETY!

**CROWD**  
>THE LADIES AND GENTS HERE<br>BEFORE YOU -  
>WHICH NONE OF US EVER ADMITS -<p>

**SOME**  
>MAY HAVE SAINTLY LOOKS,<p>

**OTHERS**  
>BUT WE'RE SINNERS AN' CROOKS -<p>

**SOME**  
>HYPOCRITES!<p>

**CROWD**  
>HYPOCRITES!<p>

**SOME**  
>THERE ARE PREACHERS WHO KILL!<p>

**OTHERS**  
>THERE ARE KILLERS WHO PREACH!<p>

**SOME**  
>THERE ARE TEACHERS WHO LIE!<p>

**OTHERS**  
>THERE ARE LIARS WHO TEACH!<p>

**WOMEN**  
>TAKE YOUR PICK, DEAR<p>

**CROWD**  
>'CAUSE IT'S ALL A FAÇADE!<p>

**FIRST MAN**  
>YOU MUST SEEM TO BE RICH<br>AND HAVE MONEY TO BURN!

**SECOND MAN**  
>EVEN THOUGH IT'S A BITCH<p>

**FIRST MAN**  
>SPENDING MORE THAN YOU EARN!<p>

**SECOND MAN**  
>THAT'S THE GAME HERE<p>

**CROWD**  
>TO BREAK THROUGH THE FAÇADE!<p>

ONE OR TWO MIGHT  
>LOOK KINDA WELL-TO-DO - (HAH!)<br>THEY'RE AS BAD AS ME AN' YOU  
>RIGHT DOWN TO THEIR BOOTS<p>

**FOURTH MAN**  
>I'M INCLINED TO THINK<p>

**CROWD**  
>HALF MANKIND THINKS<br>THE OTHER HALF IS BLIND  
>WOULDN'T BE SURPRISED TO FIND<p>

**SECOND MAN**  
>THEY'RE ALL IN CAHOOTS!<p>

**CROWD**  
>AT THE END OF THE DAY,<br>WE DON'T MEAN WHAT WE SAY  
>WE DON'T SAY WHAT WE MEAN<br>WE DON'T EVER COME CLEAN

**THIRD MAN**  
>AN' THE ANSWER<p>

**CROWD**  
>IS IT'S ALL A FAÇADE!<p>

MAN IS NOT ONE BUT TWO  
>HE IS EVIL AND GOOD<br>AND HE WALKS A FINE LINE  
>WE'D ALL CROSS IF WE COULD<p>

**THIRD MAN**  
>IT'S A NIGHTMARE<p>

**FIRST MAN**  
>WE CAN NEVER DISCARD<p>

**THIRD MAN**  
>SO WE STAY ON OUR GUARD<p>

**SECOND MAN**  
>THOUGH WE LOVE THE FAÇADE!<p>

**SOME**  
>WHAT'S BEHIND THE FAÇADE?<p>

**FOURTH MAN**  
>LOOK BEHIND THE FAÇADE!<p>

INT. HOSPITAL OPERATING THEATER

An operating theater in a fashionable clinic. Again, there is  
>much gleaming glass, including a high partition, which here<br>separates observers (in tiered rows) from practitioners.  
>Sudden stunned silence, permeated by the smell of ether and<br>other exotic chemicals.

In the operating arena, Jekyll waits, beside a gleaming steel  
>table on which are displayed various graphs and maps of the<br>human mind and personality. UTTERSON watches from the extreme  
>periphery of the operating arena. SIMON STRIDE stands, in the<br>first row of seats behind the glass partition. He is a  
>correct, pinched young man of Jekyll's generation.<p>

**STRIDE**  
>The Board of Governors of St.<br>Jude's Hospital is now in session.  
>Sir Danvers Carew, K.B.E.,<br>Chairman...

Sir Danvers nods or waves from behind the glass partition.

**STRIDE (CONT'D)**  
>The Right Honorable Sir Archibald<br>Proops, Q.C. ...

PROOPS, a plump, pompous specimen, quick, methodical, all  
>business, merely sighs from his perch at the top of the<br>tiered rows behind the glass partition.

**STRIDE (CONT'D)**  
>Lord Savage...<p>

Unlike his name, SAVAGE is frail, wasted, and into his  
>dotage. Very much a man-about-town, with other (more<br>important) things to be doing this afternoon.

**STRIDE (CONT'D)**  
>General Lord Glossop...<p>

THE GENERAL is middle-aged, formidable, but given to drink,  
>and perhaps to repairing his ravaged complexion with<br>cosmetics. Ramrod straight. Cruel mouth. He sits somewhat  
>apart from the others, behind the partition.<p>

**STRIDE (CONT'D)**  
>Lady Beaconsfield...<p>

Enormously impressive and somber, this well-dressed older  
>woman, sitting beside Sir Danvers, wafts her blessings, then<br>frowns impressively down at Jekyll.

**STRIDE (CONT'D)**  
>His Grace The Bishop of<br>Basingstoke...

THE BISHOP, a portly florid giant in clerical purple sitting  
>on Sir Danvers's other side, waves, as though wafting his own<br>blessing.

The Board of Governors is assembled.

**DANVERS**  
>The order of business will be<br>conducted by - the Secretary to the  
>Board of Governors, Mr. Simon Stride.<p>

Stride bows to the group and takes his place at his desk. He  
>opens the Minutes Book.<p>

**SAVAGE**  
><em>(grumbling)<br>_Let's get on with it!

**STRIDE**  
>Proposal No. 929 - Presented by Dr.<br>Henry Jekyll.

The BOARD immediately erupts into pandemonium. It is a rumpus  
>reminiscent of normal procedure in the British House of<br>Commons. He appears to be "on trial" due to his radical  
>proposals. Shouting over one another, the distinguished<br>GOVERNORS' behavior is anything but distinguished.

**STRIDE (CONT'D)**  
><em>(banging his gavel)<em>  
>Order! Order! The Chairman will<br>address the Board.

Mumbling and grumbling, the GOVERNORS resume their stations.  
>Sir Danvers speaks over the receding hubbub.<p>

**DANVERS**  
>My friends! We are all well aware<br>of the highly controversial nature  
>of Doctor Jekyll's research. But<br>our high regard for his work and  
>reputation demand that he be<br>allowed to present his request...

The BOARD OF GOVERNORS mutters and squirms a bit more.

**DANVERS (CONT'D)**  
>Henry...<p>

The BOARD then focuses its attention on Jekyll, who bows, a  
>bit too respectfully, so that his irony shows - as it does in<br>the tone of voice:

SONG: "JEKYLL'S PLEA"

**JEKYLL**  
>DISTINGUISHED GOVERNORS,<br>I HAVE GLIMPSED THE FUTURE  
>SEEN MIRACLES THAT STUN THE MIND<br>AND MARVELS ONLY SCIENCE CAN FIND  
>TO SHAPE TOMORROW FOR MANKIND.<br>AND I CAN SHOW THEM TO YOU  
>IF YOU WISH ME TO.<p>

**STRIDE**  
>Dr. Jekyll, may we dispense with<br>the niceties and proceed to the  
>matter at hand?<p>

**JEKYLL**  
>Of course, Mr. Stride, forgive <span>my<br>good manners.  
><em>(sings)<br>_FRIENDS, YOU'RE AWARE  
>THERE ARE TWO SIDES TO EACH OF US<br>GOOD AND EVIL  
>COMPASSION AND HATE.<p>

IF WE COULD EXTRACT ALL  
>THE EVIL FROM EACH OF US<br>THINK OF THE WORLD THAT  
>WE COULD CREATE!<p>

A WORLD WITHOUT ANGER  
>OR VIOLENCE OR STRIFE -<br>WHERE MAN WOULDN'T KILL ANY MORE!  
>A WORLD OF COMPASSION<br>WHERE PASSION FOR LIFE  
>WOULD BANISH THE MADNESS OF WAR!<p>

I'M CLOSE TO FINDING  
>THE KEY TO DUALITY<br>CHEMICAL FORMULAE WHICH  
>COULD AND WOULD<br>ALTER THE PATTERNS OF  
>MAN'S PERSONALITY<br>GUIDING HIM EITHER TO EVIL OR GOOD!

WEIGH THE POTENTIAL  
>THE GREAT POSSIBILITIES<br>COLLEAGUES - DEAR FRIENDS -  
>UNDERSTAND!<br>WE HAVE A CHANCE  
>TO MAKE HISTORY HERE IN OUR HAND!<br>_(spoken)_  
>Governors, I believe that the day<br>is not far off that we could  
>ultimately eliminate evil from all<br>mankind. My experiments with  
>animals have convinced me that<br>behavioral control is achievable. I  
>must be permitted now to test my<br>formula on a human subject.

**BISHOP**  
>Are you suggesting a patient - from<br>our hospital?

**BEACONSFIELD**  
>What! To be prodded and tested like<br>a laboratory rat?!

**JEKYLL**  
>A volunteer. Someone who would be<br>willing to help prove my theory –  
>for the betterment of all mankind!<p>

**PROOPS**  
>A <span>volunteer<span> mental patient?  
><em>(a sarcastic aside to the<em>  
><em>Bishop next to him)<em>  
>Very good!<p>

**JEKYLL**  
>A man whom society has abandoned as<br>hopeless, an inmate of this prison!

**DANVERS**  
>Prison? Henry!<p>

**JEKYLL**  
><em>(passionately)<br>_THERE ARE DOOMED, BROKEN SOULS  
>IN A THOUSAND ASYLUMS<br>LEFT THERE TO ROT  
>FOR THE LACK OF A PLAN!<br>IN THE NAME OF COMPASSION  
>AND MEDICAL SCIENCE,<br>I CAN SAVE MANY LIVES  
>IF YOU GIVE ME ONE MAN!<p>

**BISHOP**  
><em>(with great pomp)<em>  
>I TELL YOU <span>NOW<br>THE CHURCH WILL NEVER SANCTION IT!

**ALL**  
><em>(variously)<em>  
>SACRILEGE! LUNACY!<br>BLASPHEMY! HERESY!

**PROOPS**  
>BEWARE SIR, YOU'RE TREADING<br>ON DANGEROUS GROUND -  
>IN LEGAL TERMS,<br>I'D SAY, EXTREMELY UNSOUND!

**BISHOP**  
>YOUR LACK OF HUMILITY<br>STRIKES ME AS ODD  
>WHAT MAKES YOU THINK YOU<br>HAVE THE RIGHT TO PLAY GOD!

**SAVAGE**  
>THE BISHOP SPEAKS FOR ALL OF US<br>WHEN HE SAYS YOU'RE PLAYING GOD!  
>THERE'S SUCH A THING AS ETHICS -<br>OVER WHICH YOU RIDE ROUGH-SHOD!

**STRIDE**  
>YOU'RE A DOCTOR, NOT OUR SAVIOR,<br>DOCTOR JEKYLL, FOR A START! -  
>BUT I JUDGE FROM YOUR BEHAVIOR<br>YOU CAN'T TELL THE TWO APART!

**JEKYLL**  
>DEAR MR. STRIDE,<br>I AM SIMPLY A SCIENTIST  
>I HAVE A CODE,<br>TO WHICH I REMAIN TRUE!  
>I DON'T PRESUME<br>TO THE STATURE OF MORALIST  
>I LEAVE PRETENSION LIKE THAT, SIR,<br>TO YOU!

**DANVERS**  
>HENRY, I'VE ALWAYS ENCOURAGED<br>YOUR ENTERPRISE  
>AND I'VE BEEN HOPEFUL<br>THAT YOU WOULD SUCCEED!  
>BUT IN THE FACE OF THESE<br>POWERFUL ARGUMENTS,  
>I SEE NO CHOICE BUT<br>FOR YOU TO CONCEDE!

**JEKYLL**  
><em>(to Danvers)<em>  
>I KNOW MY FATE IS YOURS TO CHOOSE<br>BUT IF I FAIL,  
>THE WORLD WILL LOSE<br>I AM ON THE BRINK OF GREAT SUCCESS!  
><em>(to Governors)<em>  
>I BEG YOU, GOVERNORS -<br>YOU MUST SAY "YES"!

**BEACONSFIELD**  
>DOCTOR JEKYLL,<br>ENOUGH OF YOUR RANTING, SIR!  
>THIS IS A HOSPITAL<br>HERE TO SAVE LIVES!

**GOVERNORS**  
>DO YOU THINK WE WOULD LET<br>YOU PLAY HAVOC WITH ALL  
>THE HIGH PRINCIPLES<br>TOWARD WHICH IT STRIVES!

DO YOU EXPECT US TO COMPROMISE  
>ALL THAT WE STAND FOR<br>INDULGING YOUR DANGEROUS GAMES?  
>HOW MANY RULES SHOULD WE BREAK<br>FOR YOUR DUBIOUS AIMS?

**JEKYLL  
><strong>_(frustrated)  
><em>CAN'T YOU SEE?  
>I AM <span>NOT<span> PLAYING GAMES!  
>JUST GIVE ME THE OPPORTUNITY!<p>

**GLOSSOP**  
>THIS WHOLE THING'S TOO BIZARRE!<p>

**DANVERS**  
>OPEN UP YOUR EYES AND SEE!<p>

**BISHOP**  
>THIS MAN HAS GONE TOO FAR!<p>

**JEKYLL**  
>UNLESS YOU LISTEN TO ME...<p>

**STRIDE**  
>DOCTOR, PLEASE WATCH YOUR TONE!<br>DAMMIT, MAN, CAN'T YOU SEE?  
>YOU'RE ON YOUR OWN!<p>

By now, all tempers are frayed. Jekyll sees the Board of  
>Governors baying at him like a pack of wolves.<p>

**JEKYLL**  
>FOOLS!<p>

**DANVERS**  
>HENRY!<p>

**JEKYLL**  
>YOU FOOLS!<p>

**PROOPS**  
>JEKYLL!<p>

**JEKYLL**  
>GOD DAMN...<p>

**BISHOP**  
>BLASPHEMY!<p>

**JEKYLL**  
>...YOUR RULES!<p>

**GLOSSOP**  
>MUTINY!<p>

**JEKYLL**  
>LOOK AT YOURSELVES!<p>

**SAVAGE**  
>DAMN ME!<p>

**JEKYLL**  
>CIVILIZED MEN!<p>

**BEACONSFIELD**  
>REALLY!<p>

**JEKYLL**  
>WHY CAN'T YOU SEE?!<p>

**DANVERS**  
>HENRY!<p>

**STRIDE**  
><em>(banging his gavel)<em>  
>Order! Order!<p>

**JEKYLL**  
>If I ever needed further<br>justification for my experiments,  
>gentlemen, you have just provided it!<br>_(sung)_  
>JUST LOOK AT WHAT HAS HAPPENED HERE<br>MIX ANGER WITH A TOUCH OF FEAR  
>THE DANGER'S ALL TOO CRYSTAL-CLEAR<br>JUST LOOK AT YOU -  
>OUR DARKER SIDE<br>KEEPS BREAKING THROUGH  
>OBSERVE IT NOW - IN ME AND YOU!<br>THE EVIL THAT ALL MEN CAN DO  
><span>MUST<span> BE CONTROLLED!  
>I <span>BEG<span> OF YOU  
>I'LL SHOW YOU ALL<br>IT CAN BE DONE!  
><em>(regains his calm)<br>_HERE IS A CHANCE TO TAKE  
>CHARGE OF OUR FATE<br>DEEP DOWN YOU MUST KNOW  
>THAT TOMORROW'S TOO LATE!<br>ONE RULE OF LIFE  
>WE CANNOT REARRANGE –<br>THE ONLY THING CONSTANT IS CHANGE  
>THE ONLY THING CONSTANT IS CHANGE.<p>

**STRIDE**  
>DISTINGUISHED COLLEAGUES,<br>YOUR VERDICT, PLEASE.  
>ALL THOSE IN FAVOR SAY "AYE".<p>

A chilling silence fills the room. Stride smiles a thin  
>smile.<p>

**STRIDE (CONT'D)  
><strong>All those opposed, "Nay."

**GOVERNORS**  
><em>(ensemble)<em>  
>NAY! NAY! NAY! NAY!<br>ABSOLUTELY – POSITIVELY – NAY!

**STRIDE**  
>SIR DANVERS?<p>

**DANVERS**  
><em>(glancing plaintively at<em>  
><em>Jekyll)<em>  
>I abstain.<p>

**STRIDE**  
><em>(with smug satisfaction)<em>  
>By five votes to none, with one<br>abstention, Doctor Jekyll's  
>extraordinary proposal is rejected.<br>_(bangs gavel)_  
>Thank you for your time, Doctor<br>Jekyll.

The Board rise to their feet and disperse - muttering to one  
>another about the Jekyll scandal. "Shameful!" "Disgusting<br>exhibition."

**SAVAGE**  
>Who wants to take me to luncheon?<br>Bessie?

**BEACONSFIELD**  
>No, Herbert, I've heard enough<br>demented babbling for one day.

They leave.

**DANVERS**  
>I'm profoundly sorry, Henry. I did<br>try to prepare you.

He leaves as Stride addresses Jekyll.

Song: "STRIDE'S APOLOGY"

**STRIDE**  
>I'M SO SORRY, DOCTOR JEKYLL.<br>WHAT A REALLY ROTTEN SHAME!  
>I SO HOPE THAT WHAT HAS HAPPENED<br>WON'T DESTROY YOUR PRECIOUS NAME.

He leaves. Utterson comes over to Jekyll.

**UTTERSON**  
>Well... you've finally convinced<br>them... that you're mad!

**JEKYLL**  
>They set themselves up as "friends<br>of medicine," John, but they're  
>hypocrites, every last one of them!<p>

**UTTERSON**  
>Yes, but they're <span>powerful<br>hypocrites, Henry. You should  
>exercise caution.<p>

**JEKYLL**  
>I can't afford caution!<p>

SONG: "PURSUE THE TRUTH"

**JEKYLL (CONT'D)**  
>HOW CAN I PURSUE THE TRUTH<br>WHEN THEY CAN BLOCK  
>EACH STEP I TAKE?<p>

**UTTERSON**  
>HENRY, YOU HAVE COME THIS FAR<br>REMEMBER WHAT YOU HAVE AT STAKE!

**JEKYLL**  
>JOHN, I KNOW I'M RIGHT!<br>I HAVE LET MY VISION GUIDE ME  
>I'M SO WEARY OF THIS FIGHT<br>THERE'S SO LITTLE LEFT INSIDE ME.

**UTTERSON**  
>IF YOU KNOW THAT YOU ARE RIGHT<br>THEN YOU'VE GOT TO SEE IT THROUGH  
>YOU'VE <span>GOT<span> TO SEE IT THROUGH!

**JEKYLL**  
>SEVEN YEARS AGO<br>I STARTED OUT ON THIS ALONE  
>AND IT'S ALONE I'LL SEE IT THROUGH<br>TO ITS CONCLUSION

WHO ARE THEY TO JUDGE  
>WHAT I AM DOING?<br>THEY KNOW NOTHING OF THE  
>ENDLESS POSSIBILITIES I SEE!<br>IT'S LUDICROUS  
>I'M BOUND BY THEIR DECISION<p>

**UTTERSON**  
>SEEMS VISION IS A WORD<br>THEY'VE NEVER HEARD!

**JEKYLL**  
>IF IT MATTERED LESS,<br>I'D TREAT IT WITH DERISION  
>IT'S ABSURD!<p>

**UTTERSON**  
><em>(smiling)<em>  
>AND YET THE FACT REMAINS<br>THOSE BASTARDS HOLD THE REINS!

Already, underneath the preceding few lines of music, hooves,  
>harness, and carriage wheels have been heard, approaching.<p>

CUT TO:

EXT. SIR DANVERS' HOUSE - NIGHT

Establishing shot: the composed and regal façade of Sir  
>Danvers Carew's elegant John Nash Regency house in Regent's<br>Park, immaculate, stately, lit by gaslight and torches.  
>Immaculate and stately LADIES and GENTLEMEN of quality are<br>arriving for a fête, and proceeding within the edifice,  
>assisted and observed by FOOTMEN, MAIDS, MANSERVANTS...<p>

SONG: "FAÇADE" (reprise)

**1ST MANSERVANT  
><strong>IF YOU LIVE AROUND HERE  
>YOU NEED CASH IN THE BANK<br>'CAUSE THE HOUSES 'ROUND HERE  
>ARE ALL FLASHY AND SWANK<br>AN' THE FRONT BIT IS  
>WHAT'S CALLED A FAÇADE.<p>

**FOOTMEN, MAIDS, MANSERVANTS  
><strong>IF YOU LIVE AROUND HERE  
>YOU NEED LOTS OF PANACHE!<br>IF YOU LIVE IN TOWN, DEAR,  
>THEN YOU MUST CUT A DASH!<br>'TISN'T HARD, DEAR,  
>TO CREATE A FAÇADE!<p>

**1ST MANSERVANT  
><strong>HERE TONIGHT IT'S FESTIVE  
>BUT THE GUESTS ARE GETTING RESTIVE<br>'CAUSE THE GUEST OF HONOR'S  
>CAUSING A DILEMMA!<p>

**FOOTMEN, MAIDS, MANSERVANTS  
><strong>DOCTOR JEKYLL'S TARDY  
>FOR HIS OWN ENGAGEMENT PARTY<br>HIS BETROTHAL TO  
>SIR DANVERS' DAUGHTER, EMMA!<p>

The PARTY GUESTS are now all within. FOOTMEN, MAIDS AND  
>MANSERVANTS withdraw, or likewise disappear within, as the<br>façade of the stately edifice dissolves, to reveal what is  
>within:<p> 


	5. Chapter 2

INT. SIR DANVERS' HOUSE

A swirling waltz fills the soundtrack - this large, elegant,  
>dressy party is in full swing. The drawing room is spacious<br>and grand, all marble, mahogany, and mirrors, festively  
>decorated, but maintaining a Victorian coolness. A staircase<br>dominates the scene, and a large chandelier overhangs the  
>guests.<p>

In the far background, LADIES and GENTLEMEN attempt to amuse  
>one another on the garden terrace, dancing, drinking,<br>gossiping.

Nearer to us is an entrance hall, crowded with flowers for  
>the fête, and with SERVANTS, welcoming and waiting on GUESTS.<p>

As some dance to the music, others flutter around and flatter  
>the distinguished central figure, the host of the ball, Sir<br>Danvers, who is equally charming to everyone, despite their  
>sometimes exaggerated degrees of social affectation.<p>

A group of the rigid Board from St. Jude's is present -  
>gossiping about the events of this afternoon, still in a flap about<br>Jekyll's behavior. Utterson is greeted by Danvers and  
>Stride in the entrance hall, is relieved of his hat and coat,<br>and then joins the Governors.

**SAVAGE**  
>If Jekyll's as clever as they say<br>he is, what's he doing trying to  
>save paupers and madmen?<p>

**GLOSSOP**  
>Disgraceful! Impertinence like that<br>in the Army would've earned him a  
>good flogging!<p>

**BISHOP  
><strong>He's lucky he lives in modern  
>times.<p>

They are unaware of Utterson's presence until he speaks - he  
>startles them.<p>

**UTTERSON  
><strong>If these are modern times, Your  
>Grace, then speaking out to help<br>one's fellow man should bear the  
>support of society, and the church<br>in particular.

**BISHOP**  
>You agree then, Mr. Utterson, with<br>his... proposal?

**UTTERSON**  
>I agree with the principles, Your<br>Grace.

Sir Danvers and Stride come into the drawing room. The others  
>are not aware of them at first.<p>

**BEACONSFIELD**  
>Well, I think he's mad, if you must<br>know.  
><em>(to Danvers)<br>_Ah, Danvers, we're talking about  
>your future son-in-law! And I think<br>you're mad to allow him to marry  
>your daughter!<p>

EMMA CAREW, Sir Danvers' daughter and Jekyll's bride-to-be,  
>has been chatting with a nearby group of GUESTS, and now<br>spins around.

EMMA  
>That's not father's decision, Lady<br>Beaconsfield - it's mine!

**DANVERS**  
>Don't worry Bessie. Whatever your<br>views of him as a scientist may be,  
>Emma assures me that Henry Jekyll<br>is impeccable husband material!

**BEACONSFIELD  
><strong>Impeccable?!  
><em>(grumpily)<br>_Well, it is less than impeccable to  
>be late for one's own engagement<br>party! Shows a remarkable lack of  
>style.<p>

As the Board join other guests, and Beaconsfield and Savage  
>pass Emma...<p>

**EMMA**  
><em>(icily)<br>_Comments on style, madam, should  
>never be made by those who have<br>none.

**UTTERSON**  
><em>(chuckling)<br>_Miss Carew...

**EMMA**  
>Thank you for being here, John.<p>

**UTTERSON**  
>You are a breath of fresh air!<p>

Utterson goes out to the entrance hall, waiting for Jekyll  
>nervously. Stride intercepts Emma, as she starts out after<br>Utterson.

SONG: "EMMA'S REASONS"

**STRIDE**  
>EMMA CAREW, CAN THIS BE YOU?<br>WHAT KIND OF MAN IS THIS  
>YOU'VE TAKEN?<br>CAN YOU NOT SEE THE KIND OF LIFE  
>THAT THIS WOULD BE?<br>YOU ARE MISTAKEN!  
>TIME TO AWAKEN<br>BEFORE IT'S TOO LATE  
>BEFORE YOU FOREVER<br>DETERMINE YOUR FATE!

**EMMA**  
>BUT, SIMON, YOU KNOW<br>I HAD TO BE FREE!  
>WHAT I CHOOSE TO DO<br>IS DECIDED BY ME!

EVER SINCE MY MOTHER DIED  
>MY FATHER, BLESS HIS DARLING HEART,<br>HAS TREATED ME AS THOUGH  
>I'M STILL A YOUNG CHILD!<br>MAYBE HIS IDEA WAS JUST TO WAIT  
>UNTIL I GREW UP<br>AND THEN LOOK AT ME  
>AND HOPE THAT I'D BE HER!<p>

IT'S EASY TO ACCEPT THAT  
>FROM A FATHER<br>HE'D RATHER THINGS REMAINED  
>THE WAY THEY WERE!<br>BUT WHEN IT COMES TO MARRIAGE,  
>I MUST PICK WHOM I PREFER!<p>

I'M NOT THE WEAK YOUNG THING  
>YOU'RE SEEKING, SIMON<br>SOMEONE SEVENTEEN,  
>OBEDIENT AND SWEET! -<br>I AM NOT THE PROTÉGÉ  
>TO WASTE YOUR TIME ON<p>

At this moment, Jekyll hurries into the entrance hall.  
>Utterson steps forward to greet and admonish him, as Jekyll<br>hands his coat, scarf, and hat to servants. At the same  
>time, Emma comes to the drawing room door, followed by<br>Stride.

**EMMA (CONT'D)  
><strong>I'M COMPLETE!  
>IN HENRY'S EYES I SEE<br>WHAT I AM MEANT TO BE!

Jekyll sees her, smiles, and starts in her direction. He is  
>intercepted by a BEVY of YOUNG GENTLEMEN, who draw him away<br>from Emma, teasing.

**STRIDE**  
>Emma, listen to me...<p>

**EMMA**  
>SIMON ENOUGH!<br>THERE'S NOTHING MORE!  
>DON'T BE A BORE!<br>YOU HAVE YOUR ANSWER.  
>THAT'S HOW THINGS ARE,<br>WILL ALWAYS BE.  
>YOU HAD YOUR CHANCE, SIR, WITH ME.<p>

**STRIDE**  
>SOMEDAY YOU'LL REGRET<br>WHAT YOU JUST SAID TO ME.

They laugh, thump Jekyll on the back, shake hands with him.  
>He manages to get free of them, and starts again toward the<br>drawing room, only to be intercepted again, this time by Sir  
>Danvers, who reappears from the terrace looking at his watch.<p>

**DANVERS**  
>Ah, the <span>late<span> Henry Jekyll!

**JEKYLL**  
><em>(shaking his head)<br>_Sir Danvers, forgive me...

**DANVERS  
><strong>_(pooh-poohs the apology)  
><em>Nothing to forgive, dear boy. Like  
>Emma, I'm learning to anticipate<br>you. I'm thinking of inviting the  
>guests for the day <span>after<span> the  
>wedding - so that you will appear<br>to be on time!

**JEKYLL**  
>I'll be there, never fear. This 3<br>month engagement will be the  
>longest wait of my life.<p>

**DANVERS**  
>Well, Henry, your half-hour with<br>the Hospital Board this afternoon  
>was undoubtedly the longest of my<br>life.

**JEKYLL  
><strong>I'm truly sorry, sir, but I have to  
>stand by what I believe.<p>

**DANVERS  
><strong>Even if it means antagonizing the  
>established authority in the<br>process?

**JEKYLL  
><strong>Especially then! And your friends  
>are not the established authority,<br>merely the established prejudice!

**UTTERSON  
><strong>_(coming between them)  
><em>My friend Jekyll is a man of honor,  
>Sir Danvers, but not of diplomacy.<p>

**DANVERS  
><strong>I was not aware the two were  
>incompatible.<p>

Just then, mercifully, a MANSERVANT moves from the terrace  
>into the entrance hall.<p>

**1ST MANSERVANT  
><strong>_(solemnly)  
><em>Ladies and Gentlemen – refreshments are being served.

The crowd disperses. Jekyll and Emma are alone in the drawing  
>room.<p>

**JEKYLL**  
>Miss Carew.<p>

**EMMA**  
>Doctor Jekyll.<p>

**JEKYLL**  
>Are you angry with me?<p>

**EMMA**  
>I'm just happy you're here!<p>

**JEKYLL  
><strong>I try never to miss any social  
>occasion attended by Lady<br>Beaconsfield! Is there a Lord  
>Beaconsfield?<p>

**EMMA**  
>He died thirty years ago.<p>

**JEKYLL**  
>Sensible fellow!<p>

**EMMA  
><strong>_(a pained smile at this remark)  
><em>My dear Doctor! While you're out  
>fighting full-time to change the<br>world, I seem to be fighting full-  
>time to protect your reputation.<br>I'm getting quite good at it!

**JEKYLL  
><strong>Oh, Emma! You realize that you're  
>letting yourself in for a lifetime<br>of these aggravations.

**EMMA**  
>I realize that.<p>

SONG: "I MUST GO ON"

**JEKYLL  
><strong>I MUST GO ON WITH THE  
>WORK I'M COMMITTED TO<br>HOW CAN I NOT WHEN  
>MY THEORIES ARE TRUE?<br>AND I WILL PROVE  
>IF I'M EVER PERMITTED TO<br>THINGS ARE NOT WRONG  
>JUST BECAUSE THEY ARE NEW!<p>

**EMMA  
><strong>HENRY, I ADORE YOU.  
>ALWAYS HAVE DONE ALWAYS WILL DO.<br>AND YOUR DREAMS ARE MINE!  
>I WILL ALWAYS UNDERSTAND<br>HOWEVER HARD THE PATH  
>YOU'VE PLANNED<br>OUR LIVES WILL INTERTWINE...

**JEKYLL  
><strong>WHO KNOWS WHERE MY WORK  
>WILL LEAD ME?<p>

**EMMA  
><strong>NOWHERE WHERE YOU WILL NOT NEED ME!

**JEKYLL  
><strong>EMMA, PLEASE I BEG YOU, HEED ME!

**EMMA  
><strong>JUST DON'T LEAVE ME ON MY OWN!

**JEKYLL  
><strong>THE ONLY THING TO FEAR IS  
>THE UNKNOWN<p>

**EMMA  
><strong>WHEN THIS ALL BEGAN,  
>WE KNEW THERE'D BE A PRICE TO PAY –<br>TOO LATE NOW TO TURN AWAY –  
>WE HAVE COME TOO FAR! –<br>I KNOW WE'LL FIND A WAY...

SONG: "TAKE ME AS I AM"

**JEKYLL  
><strong>SOMETIMES I SEE  
>PAST THE HORIZON<br>SURE OF MY WAY  
>WHERE I AM GOING<p>

BUT WHERE'S THE PRIZE  
>I HAVE MY EYES ON?<br>WHERE?  
>THERE IS JUST NO KNOWING!<p>

AND WHEN DESPAIR  
>TEARS ME IN TWO<br>WHO CAN I TURN TO BUT YOU?  
>YOU KNOW WHO I AM...<br>TAKE ME AS I AM

**EMMA  
><strong>LOOK IN MY EYES  
>WHO DO YOU SEE THERE?<br>SOMEONE YOU KNOW?  
>OR JUST A STRANGER?<p>

IF YOU ARE WISE  
>YOU WILL SEE ME THERE!<br>LOVE...  
>IS THE ONLY DANGER!<p>

LOVE... MEANING ME  
>LOVE... MEANING YOU<br>WE'LL MAKE OUR ONE DREAM COME TRUE  
>YOU KNOW WHO I AM...<br>TAKE ME AS I AM

**BOTH  
><strong>THOUGH FATE WON'T ALWAYS DO  
>WHAT WE DESIRE –<br>STILL WE CAN SET THE WORLD ON FIRE!

GIVE ME YOUR HAND  
>GIVE ME YOUR HEART<p>

**JEKYLL  
><strong>SWEAR TO ME WE'LL NEVER PART!

**EMMA  
><strong>WE'LL NEVER PART!

**JEKYLL  
><strong>YOU KNOW WHO I AM

**EMMA  
><strong>YOU KNOW WHO I AM

**JEKYLL  
><strong>THIS IS WHO I AM!

**EMMA  
><strong>THIS IS WHO I AM!

**BOTH  
><strong>TAKE ME AS I AM!

Stride enters from the terrace with coat and hat in hand, on  
>his way out, and peers into the drawing room as Jekyll kisses<br>Emma.

SONG: "STRIDE'S CONFESSION"

**STRIDE  
><strong>HENRY JEKYLL, I DESPISE YOU  
>YOU HAVE STOLEN THE GIRL<br>WHO SHOULD BE MY WIFE.  
>BUT THERE'LL COME A DAY,<br>NOT SO FAR AWAY  
>WHEN I SWEAR YOU'LL PAY,<br>AND YOU'LL PAY ALL YOUR LIFE!

Jekyll and Emma, unaware of his presence, laugh, and go  
>towards the garden terrace.<p>

EXT. TERRACE - SIR DANVERS' RESIDENCE - NIGHT

A fireworks display erupts in the garden, in the distance.  
>Sir Danvers, Utterson, and the other guests are "oohing" and<br>"aahing" at the spectacle. Emma and Jekyll, hand-in-hand,  
>join them.<p>

At the same time, a deep rumbling rhythmic thump begins  
>underneath. This continues as the fireworks fade from<br>brightness to darkness, from sizzle to silence, and we are  
>into...<p> 


	6. Chapter 3

EXT. DOCK SIDE IN LONDON'S EAST END - NIGHT

One of the darkest and least desirable streets in the East  
>End, London's least desirable neighborhood. Underneath an<br>ancient stone bridge which drips dank rot, we can perceive  
>heavy dark crates being unloaded in flickering torchlight by<br>grimy DOCKWORKERS. The echoing lifeless thump, already  
>established, comes from the sounds of their work, from other<br>unidentifiable river noises (pumps? axes taking something  
>apart?), and from the general, aggressively rough rhythms of<br>life in this part of London.

STREET PEOPLE of every dubious type – WOMEN, GIRLS, MEN and  
>BOYS for hire for virtually any purpose; and OTHERS who take<br>rather than trade. RAG AND BONE MEN, CRIPPLED AND BLIND  
>BEGGARS, COSTERMONGERS who smell of rotting vegetable matter,<br>etc.

Among the WOMEN OF THE STREET, NELLIE cuts the widest swath,  
>strolling up and down before her establishment, "The Red<br>Rat," a dingy public-house in the most degraded sense of that  
>term. One or two hissing undependable gaslights illuminate<br>the outside of the house.

Nellie is a chemical redhead, dressed in a worn and patched  
>red dress, with more fake garnets missing from her jewelry<br>than present, and with fingernails and lips the color of  
>tobacco. At one time, she must have been a "looker," but<br>those days are behind her now. She is a "badger" – that is,  
>a walking prostitute by day – by night, a "hook" to attract<br>customers here.

A hansom cab approaches, from underneath the bridge, and  
>Nellie steps up to greet the cab. Two well-dressed gentlemen<br>gradually emerge from the cab – Jekyll and Utterson.

**UTTERSON  
><strong>_(ignoring Nellie's curtsy  
><em>_and tobacco-colored grin  
><em>_as they emerge)  
><em>Well, I prefer to believe that man  
>s basically good. Every moral man<br>believes that.

**JEKYLL  
><strong>I do not believe it. We all have  
>dark impulses within us...<p>

**UTTERSON  
><strong>And that's what you call "freedom"?

**JEKYLL  
><strong>Yes! Like an animal is free, to do  
>exactly as he wants, when he<br>wants...

**UTTERSON  
><strong>Henry! As your lawyer, it is my  
>duty to inform you that you are<br>playing a very dangerous game.

**JEKYLL  
><strong>And as your doctor, John, it is my  
>duty to inform you... that I need a<br>very large drink!

She eyes the two unusually upmarket gents approvingly as they  
>approach. An out-of-tune honky-tonk piano plays the music of<br>"BRING ON THE MEN" gently under as she sizes them up, then  
>dazzles them with her smile.<p>

**NELLIE  
><strong>'Ere's a lovely lookin' pair of  
>gentlemen, I must say! Welcome to<br>"The Red Rat"! 'Ave a drink – look  
>around – find somethin' ya fancy!<p>

**JEKYLL  
><strong>_(to Nellie)  
><em>Are you "free" my dear?

**NELLIE  
><strong>Well, not free, yer Lordship, but  
>cheap enough for the likes of you!<p>

**JEKYLL  
><strong>Come on, John, one drink.

**UTTERSON  
><strong>_(regarding Nellie)  
><em>This is hardly a respectable place,  
>Henry!<p>

**JEKYLL  
><strong>I've had all the respectability I  
>can take for one day. And, anyway,<br>tonight's my bachelor night. Aren't  
>you supposed to give me a party?<p>

**NELLIE  
><strong>I could be the party 'e's supposed  
>ta give ya, 'Enry.<p>

**UTTERSON  
><strong>He meant a bachelor party.

**NELLIE  
><strong>Most of me parties are bachelors.

**JEKYLL  
><strong>Come on, John!  
><em>(starting to follow<br>__Nellie)_

**UTTERSON  
><strong>I think not.

**NELLIE  
><strong>'E thinks too much, don't he 'Enry?

**JEKYLL  
><strong>_(yelling back to Utterson  
><em>_as he follows Nellie into  
><em>_the pub)  
><em>Where's your sense of adventure?

**NELLIE  
><strong>That's right 'Enry! Good for you!  
>Me name's Nellie.<p>

Jekyll follows Nellie down the stairs into the pub, as we  
>become aware of the relentless thumping of this part of<br>London again, and we move into...

INT. THE RED RAT

Nellie leads Jekyll through the crowded pub to find him a  
>place to sit.<p>

**NELLIE  
><strong>Not cut out to be one of the lads,  
>is 'e that John? Well, one out of<br>two's not bad, I suppose. So, what  
>do ya' fancy, dear? ...apart from<br>me, of course!

**JEKYLL  
><strong>A large whiskey, please.

**NELLIE  
><strong>Whiskey eh? If ya' play yer cards  
>right, sweet'eart, you can 'ave us<br>both!

As Nellie goes to get the drink, the pub CUSTOMERS start  
>their demands for Lucy to give them a song. They bang their<br>mugs on the table and stamp their feet as calls for Lucy  
>build into a chant...<p>

**PUB CUSTOMERS  
><strong>LU-CY! ... LU-CY! ... LU-CY! LUCY!  
>LUCY! LUCY!<p>

The roar of approval crescendos as LUCY indicates she is  
>going to sing. She wears a cheap, glittery, corseted costume,<br>above which her pale arms and bosom appear almost  
>translucent; as do her shapely legs, exposed beneath. She<br>stamps smartly, to insure that her boots are solidly on –  
>and, also, to clear the gas jets in the footlights.<p>

Lucy stamps again and the flickering gas footlights glow more  
>brightly. CAMERA PULLS BACK to reveal Lucy, on a tiny, low,<br>makeshift stage.

Lounging in the foreground and around the periphery of "The  
>Red Rat" are Nellie, Jekyll, and a few OTHER CUSTOMERS, all<br>men, of course, from a variety of classes and professions.

Accompaniment for Lucy's number is provided by a comatose  
>PIANIST in the background. She is a faded Victorian Music<br>Hall star in the Marie Lloyd mold.

SONG: "BRING ON THE MEN"

**LUCY  
><strong>THERE WAS A TIME –  
>I DON'T KNOW WHEN<br>I DIDN'T HAVE MUCH TIME FOR MEN  
>BUT THIS IS NOW –<br>AND THAT WAS THEN...  
>I'M LEARNING!<p>

A GIRL ALONE – ALL ON HER OWN  
>MUST TRY TO HAVE A HEART OF STONE<br>SO I TRY NOT TO MAKE IT KNOWN,  
>MY YEARNING!<br>I TRY TO SHOW I HAVE NO NEED  
>I REALLY DO... I DON'T SUCCEED!<p>

SO LET'S BRING ON THE MEN  
>AND LET THE FUN BEGIN!<br>A LITTLE TOUCH OF SIN  
>WHY WAIT ANOTHER MINUTE?<p>

STEP THIS WAY –  
>IT'S TIME FOR US TO PLAY!<br>THEY SAY WE MAY NOT  
>PASS THIS WAY AGAIN<br>SO LET'S WASTE NO MORE TIME  
>BRING ON THE MEN!<br>I ALWAYS KNEW – I ALWAYS SAID –  
>THAT SILK AND LACE IN BLACK AN' RED<br>WILL DRIVE A MAN  
>RIGHT OFF HIS HEAD...<br>IT'S EASY!

SO MANY MEN, SO LITTLE TIME  
>I WANT 'EM ALL... IS THAT A CRIME?<p>

**PUB CUSTOMERS  
><strong>No!

**LUCY  
><strong>I DON'T KNOW WHY  
>THEY SAY THAT I'M TOO EASY!<br>THEY MAKE ME LAUGH –  
>THEY MAKE ME CRY –<br>THEY MAKE ME SICK –  
>SO GOD KNOWS WHY...<p>

Two young WOMEN sashay onstage in tattered finery, and they  
>join in the number.<p>

**LUCY & GIRLS  
><strong>WE SAY BRING ON THE MEN  
>AND LET THE FUN BEGIN!<br>A LITTLE TOUCH OF SIN  
>WHY WAIT ANOTHER MINUTE?<p>

STEP THIS WAY –  
>IT'S TIME FOR US TO PLAY!<br>THEY SAY WE MAY NOT  
>PASS THIS WAY AGAIN<br>SO LET'S WASTE NO MORE TIME  
>BRING ON THE MEN!<p>

**FIRST GIRL  
><strong>THEY BREAK YOUR HEART,

**SECOND GIRL  
><strong>THEY STEAL YOUR SOUL,

**BOTH  
><strong>TAKE YOU APART,

**LUCY  
><strong>AND YET THEY SOMEHOW MAKE YOU WHOLE

**ALL  
><strong>SO WHAT'S THEIR GAME?  
>I SUPPOSE A ROSE BY<br>ANY OTHER NAME...

**LUCY  
><strong>THE PERFUME AND THE PRICK'S  
>THE SAME<p>

Dance break: Lively. Bawdy. Raucous. A celebration of the  
>various things a young lady and her young man can do<br>together, as enacted by the two young women. The crowd is  
>enjoying it, as Lucy does her thing.<p>

**LUCY (CONT'D)  
><strong>I LIKE TO HAVE A MAN  
>FOR BREAKFAST EACH DAY<br>I'M VERY SOCIAL  
>AND I LIKE IT THAT WAY!<br>BY LATE MID-MORNING  
>I NEED SOMETHING TO MUNCH<br>SO I ASK OVER TWO MEN FOR LUNCH!

AND MEN ARE MAD ABOUT  
>MY AFTERNOON TEAS<br>THEY'RE QUITE INFORMAL  
>I JUST DO IT TO PLEASE!<br>THOSE TRIPLE SANDWICHES  
>ARE MY FAV'RITE ONES<br>I'M ALSO VERY PARTIAL TO BUNS!

MY HEALTHY APPETITE  
>GETS STRONGEST AT NIGHT<br>MY AT-HOME DINNERS ARE  
>MY MEN-FRIENDS' DELIGHT!<br>WHEN I INVITE THE FELLERS  
>OVER TO DINE<br>THEY ALL COME EARLY...  
>IN BED BY NINE!<p>

**ALL  
><strong>SO LET'S BRING ON THE MEN  
>AND LET THE FUN BEGIN!<br>A LITTLE TOUCH OF SIN  
>WHY WAIT ANOTHER MINUTE?<p>

STEP THIS WAY –  
>IT'S TIME FOR US TO PLAY!<p>

**LUCY  
><strong>THEY SAY WE MAY NOT  
>PASS THIS WAY AGAIN<br>SO LET'S WASTE NO MORE TIME  
>BRING ON THE MEN!<p>

The men roar their approval as Lucy finishes on a rolling  
>chord, and then jumps down from the low stage, to circulate<br>among the clientele.

As piano music continues (an interlude between Lucy's act and  
>the next), every barmaid is immediately grabbed and carted<br>away to the farthest recesses of "The Red Rat" in response to  
>the song's stirring message.<p>

Nellie catches Lucy's eye and guides her attentions to  
>Jekyll. (Lucy has noticed him during the song. Most certainly<br>he has noticed her!)

Lucy looks approvingly at the good-looking gentleman, and  
>approaches him with a pert, sexy smile, brushing aside other<br>men who try to stop her.

Stride has just entered the pub and starts toward Lucy, but  
>stops when he sees Jekyll. He pulls back and secretly<br>observes.

Music resumes under.

SONG: "LUCY MEETS JEKYLL"

**LUCY (CONT'D)  
><strong>S' NOT EVERY DAY ME FRIENDS AN' I  
>'AS GENTS LIKE YOU<br>JUST DROPPIN' BY.  
>BEFORE YOU GO, YOU'LL KNOW<br>JUST WHY YOU CAME HERE!

**JEKYLL  
><strong>OF THAT, MY DEAR,  
>I'VE LITTLE DOUBT<br>ONE ONLY HAS  
>TO LOOK ABOUT<br>IT'S NOT TOO HARD TO FIGURE OUT  
>THE GAME HERE!<br>AND YET I SENSE  
>THERE'S MORE TO YOU<p>

**LUCY  
><strong>YOU FLATTER, SIR –  
>YOU REALLY DO!<br>WITH HALF A CHANCE...

**JEKYLL  
><strong>WHAT WOULD YOU DO?

**LUCY  
><strong>DON'T ASK ME!  
><em>(spoken)<br>_Cheers! Got a name, brown eyes?  
><em>(optional: "blue" or<br>_"_green")_

**JEKYLL  
><strong>Henry –

**LUCY  
><strong>Well, 'Enry, aren't ya gonna ask me  
>what I'm doin' in a place like<br>this?

**JEKYLL  
><strong>Actually, I...

**LUCY  
><strong>Actually, I'm in between  
>engagements at the Royal Albert<br>'All...

They laugh as Nellie brings a drink for Lucy.

**LUCY (CONT'D)  
><strong>So, I guess this is yer lucky  
>night!<br>_(raising her glass, sung)  
><em>HERE'S TO THE NIGHT!  
>HERE'S TO ROMANCE!<br>TO THOSE UNAFRAID  
>OF TAKING A CHANCE!<p>

**JEKYLL  
><strong>_(with a rueful smile)  
><em>I THINK I'VE TAKEN ENOUGH  
>FOR ONE DAY!<br>AND I HAVE LEARNED TO MY COST  
>CHANCES ARE SOMETHING<br>YOU DON'T TAKE  
>ONCE YOU HAVE LOST!<p>

**LUCY  
><strong>OH, WHAT A SHAME!  
>IF YOU ONLY KNEW<br>THE GAMES WE COULD PLAY  
>THE THINGS WE COULD DO!<br>YET I CAN SEE  
>YOU'RE NOT UP TO THE CHASE!<br>BUT, IF YOU'RE EVER IN NEED,  
>I AM THE GIRL! –<br>AND THIS IS THE PLACE! –  
>COME TO ME!<p>

**JEKYLL  
><strong>_(looks at his watch)  
><em>IT'S GETTING LATE  
>I HAVE TO GO<br>IF ANY TIME  
>YOU NEVER KNOW<br>YOU NEED A FRIEND

Jekyll takes a visiting card from his pocket and presents it  
>to her.<p>

**JEKYLL (CONT'D)  
><strong>And I mean simply that... a friend.

She is flattered and thrilled. She smiles at him, deeply  
>touched.<p>

Jekyll turns to go, meeting Nellie, who has his hat and coat  
>ready. He takes them. (Stride watches Jekyll leave.)<p>

**NELLIE  
><strong>Fancy our Lucy, do ya?  
><em>(calling after him as he<br>__leaves)  
><em>Well, come back 'Enry! She'll be  
>'ere!<p>

**LUCY  
><strong>_(impressed, reading the  
>card)<br>_"Doctor 'Enry Jekyll... 46 'Arley  
>Street."<p>

Jekyll stops, only a moment, and tips his hat to Lucy. She  
>smiles wanly at him, then turns back.<p>

Stride suddenly appears from nowhere, walks straight up to  
>Lucy.<p>

**STRIDE  
><strong>Harley Street? Isn't that a bit  
>"uptown" for you, my dear?<p>

She gasps, but does not cry out.

**STRIDE (CONT'D)  
><strong>_(not waiting for a  
><em>_response)  
><em>A little less socializing and a  
>little more soliciting might prove<br>more profitable for you, Lucy.

**LUCY  
><strong>Yeah, well ya' can't win 'em all.

**STRIDE  
><strong>Fortunately for you, I'm in a very  
>good mood tonight.<p>

Stride dangles money in front of her. Lucy takes it.

**LUCY  
><strong>Lucky me.

He begins caressing her.

**STRIDE  
><strong>I'll be up to your room later on to  
>show you just how good!<p>

It turns into groping and she tries to pull away.

**LUCY  
><strong>Simon... stop it!

**STRIDE  
><strong>I am buying what you're selling,  
>and you'll do as I say!<br>_(laughs at her)  
><em>"Queen of the Red Rat" would rather  
>sit around hobnobbing and drinking<br>gin with fashionable society! Who  
>in the hell do you think you are?<p>

Stride leaves.

**LUCY  
><strong>Ya' only know what ya' pay for.

It's now very late. Nellie and some of the girls are in the  
>various stages of "working" the dwindling male customers.<p>

SONG: "THE GIRLS OF THE NIGHT"

**NELLIE  
><strong>WE'RE THE PLEASURES  
>OF THE NIGHTTIME<br>THAT FADE AT DAWN  
>SELLING TREASURES OF THE NIGHTTIME<br>TILL NIGHT IS GONE!  
>AND THEN WHEN THE PARTY'S OVER<br>EVERYBODY'S GONE AWAY  
>WE STARE AT AN EMPTY DAY<br>WHAT IS THERE TO DO OR SAY?

Wearily, the girls begin cleaning up, wiping up, putting  
>things away, clearing and stacking tables, etc. The few<br>remaining customers are leaving.

**NELLIE (CONT'D)  
><strong>NIGHTTIME IS WHERE WE LIVE  
>NIGHT IS WHEN WE GIVE<br>EVERYTHING WE HAVE TO GIVE  
>MOST LOVERS CAN REJOICE<br>WE DON'T HAVE A CHOICE  
>WE JUST KNOW WE HAVE TO GIVE<br>THAT'S WHY THE DAY  
>CAN NEVER BE BRIGHT<br>FOR THE GIRLS OF THE NIGHT

**LUCY  
><strong>SOMEWHERE I KNOW THERE'S A SOMEDAY  
>THAT'S JUST FOR ME<br>EVERYBODY HAS A "SOMEDAY,"  
>SO WHY NOT ME?<p>

**NELLIE  
><strong>DO YOU REALLY NEED TO  
>FILL YOUR HEART WITH EMPTY DREAMS?<br>YOU'LL ALWAYS BE WHAT YOU ARE  
>STOP CHASING THAT DISTANT STAR!<p>

**ALL  
><strong>NIGHTTIME IS WHERE WE LIVE  
>NIGHT IS WHEN WE GIVE<br>EVERYTHING WE HAVE TO GIVE  
>MOST LOVERS CAN REJOICE<br>WE DON'T HAVE A CHOICE  
>WE JUST KNOW WE HAVE TO GIVE<br>THAT'S WHY THE DAY  
>CAN NEVER BE BRIGHT<br>FOR THE GIRLS OF THE NIGHT

**FIRST GIRL  
><strong>FLY AWAY!  
>FLY AWAY!<br>_(sits down at table, lost  
><em>_in thought)  
><em>LET ME FIND MY WINGS

**SECOND GIRL  
><strong>_(to self, staring into  
><em>_space)  
><em>LET ME BE THE GIRL I WANT TO BE

**LUCY  
><strong>I'M AFRAID TO FLY AWAY  
>WHEN ALL I HAVE IS HERE<p>

**ALL  
><strong>FLY AWAY!  
>FLY AWAY!<br>FLY AWAY!

EXT. THE RED RAT - LATE NIGHT

The girls and male customers are now out on the street.

**LUCY, NELLIE & GIRLS  
><strong>ASK ME TO SHARE YOUR  
>FANTASIES, DEAR, BUT<br>DON'T ASK ME WHERE TOMORROW IS  
>DON'T ASK ME WHERE<br>TO FIND HAPPINESS  
>THOUGH I KNOW FOR SURE<br>WHERE SORROW IS

**NELLIE  
><strong>SORROW IS WHERE  
>THE DARK MEETS THE LIGHT...<p>

**LUCY  
><strong>SOMETIMES I PRAY  
>MY FEARS WILL TAKE FLIGHT...<p>

**GIRLS  
><strong>SORROW IS WHEN  
>ALL HOPE FADES FROM SIGHT...<br>FOR THE GIRLS OF THE NIGHT...

The girls wander away, some have found men. Stride has  
>returned for Lucy - she reluctantly leaves with him.<p>

**NELLIE  
><strong>WE'RE THE GIRLS OF THE NIGHT...  
>JUST THE GIRLS OF THE NIGHT...<p> 


	7. Chapter 4

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll's spare but elegant office and consulting room,  
>dominated by a large fireplace, on either side of which are<br>glass presses containing his ordinary physician's  
>paraphernalia, immaculately organized; a large mahogany desk;<br>a massive comfortable armchair of dark leather before the  
>fireplace; a leather chaise longue, surrounded by a screen,<br>at one side.

POOLE, Jekyll's antique but sturdy manservant, is waiting  
>attentively for his master's word.<p>

**POOLE  
><strong>Anything more you need, sir?

**JEKYLL  
><strong>No, Poole, go to bed. I won't need  
>you again this evening.<p>

**POOLE  
><strong>Goodnight sir.

**JEKYLL  
><strong>Poole?

**POOLE  
><strong>Yes, sir?

**JEKYLL  
><strong>_(a different tone)  
><em>You knew my father in his best  
>days. His mind and spirit were<br>extremely strong, weren't they?

**POOLE  
><strong>_(moved)  
><em>He was the finest gentleman I ever  
>knew, sir.<p>

**JEKYLL  
><strong>_(to himself)  
><em>I must do it... for his sake.

**POOLE  
><strong>Sir?

**JEKYLL  
><strong>Nothing. Goodnight.

**POOLE  
><strong>Goodnight, sir.

Poole bows, then vanishes into the living quarters of the  
>residence. Jekyll stands before the fire as it blazes up<br>brightly. He looks at the reflection of firelight on his face  
>in the large mirror above the mantelpiece.<p>

SONG: "NOW THERE IS NO CHOICE"

**JEKYLL  
><strong>_(starting quietly; his  
><em>_excitement building)  
><em>NOW THERE IS NO CHOICE  
>I MUST PUT ASIDE<br>THE FEARS I FEEL INSIDE  
>THERE'S NO PLACE TO HIDE.<br>SO IT COMES TO THIS ONE  
>GREAT GOLDEN CHANCE<br>THAT ONLY I CAN TAKE!  
>WHEN EVERYTHING I'VE<br>FOUGHT FOR IS AT STAKE!  
>TO MAKE THE MARK<br>THAT ONLY I CAN MAKE...

Spinning round, he looks about the room, as though in a daze,  
>his eyes glowing.<p>

SONG: "THIS IS THE MOMENT"

**JEKYLL (CONT'D)  
><strong>THIS IS THE MOMENT  
>THIS IS THE DAY<br>WHEN I SEND ALL MY DOUBTS  
>AND DEMONS ON THEIR WAY!<p>

EVERY ENDEAVOR  
>I HAVE MADE – EVER –<br>IS COMING INTO PLAY  
>IS HERE AND NOW... TODAY!<p>

THIS IS THE MOMENT  
>THIS IS THE TIME<br>WHEN THE MOMENTUM AND THE MOMENT  
>ARE IN RHYME!<p>

GIVE ME THIS MOMENT –  
>THIS PRECIOUS CHANCE<br>I'LL GATHER UP MY PAST  
>AND MAKE SOME SENSE AT LAST!<p>

THIS IS THE MOMENT  
>WHEN ALL I'VE DONE<br>ALL OF THE DREAMING, SCHEMING,  
>AND SCREAMING<br>BECOME ONE

THIS IS THE DAY  
>SEE IT SPARKLE AND SHINE!<br>WHEN ALL I'VE LIVED FOR  
>BECOMES MINE!<p>

He goes to the door to his laboratory and unlocks it. He  
>opens it slowly - a strange light beckons from deep within.<br>He descends!

INT. LABORATORY

The laboratory from the opening prologue. Dark except for a  
>few gaslights, it is more imposing: a huge, spectacular<br>cavernous space. It is dormant now, but as Jekyll continues,  
>he turns levers, dials, lowers pulleys, etc., bringing it to<br>full, infernal, animated life!

**JEKYLL  
><strong>FOR ALL THESE YEARS,  
>I'VE FACED THE WORLD ALONE<br>AND NOW THE TIME HAS COME  
>TO PROVE TO THEM<br>I MADE IT ON MY OWN!

THIS IS THE MOMENT  
>MY FINAL TEST<br>DESTINY BECKONED  
>I NEVER RECKONED<br>SECOND BEST!

I WON'T LOOK DOWN  
>I MUST NOT FALL!<br>THIS IS THE MOMENT,  
>THE SWEETEST MOMENT OF THEM ALL!<p>

The lab is at full throttle now.

**JEKYLL (CONT'D)  
><strong>THIS IS THE MOMENT  
>DAMN ALL THE ODDS!<br>THIS DAY OR NEVER  
>I'LL SIT FOREVER<br>WITH THE GODS!

WHEN I LOOK BACK,  
>I WILL ALWAYS RECALL<br>THAT MOMENT FOR MOMENT  
>THIS WAS THE MOMENT...<br>THE GREATEST MOMENT  
>OF THEM ALL!<p>

Jekyll now moves purposefully to complete the preparation of  
>the formula.<p>

**JEKYLL (CONT'D)  
><strong>_(writes in his journal)  
><em>September 13th, 11:56 PM. I have  
>started this alone... and I must<br>finish it alone. I know I must use  
>myself as the subject of the<br>experiment.

He moves away from the desk, picks up a large glass test-  
>tube, full of some brilliant crimson element. He inserts the<br>tube into a clamp above a small gas jet, then turns the flame  
>up high. The crimson element liquefies and bubbles noisily.<br>Jekyll watches it, entranced, as he sings:

SONG: "TRANSFORMATION"

**JEKYLL (CONT'D)  
><strong>I MUST BE WISE  
>I MUST TRY TO ANALYZE<br>EACH CHANGE IN ME,  
>EVERYTHING I SEE<p>

HOW WILL IT BE?  
>WILL I SEE THE WORLD<br>THROUGH DIFFERENT EYES?

He takes a brilliant white towel from one of the glass  
>presses, and uses it to lift the test-tube of bubbling<br>crimson liquid from the clamp.

**JEKYLL (CONT'D)  
><strong>LIKE A WARNING LIGHT  
>GLIMMERING IN RED<br>LIKE CRIMSON BLOODSHED  
>SHIMMERING IN RED<p>

He starts to add this liquid, drop by drop, to a  
>larger beaker of some sluggish blue compound.<br>When he inadvertently spills a few drops of  
>crimson onto the metal surface of a work-table,<br>the metal hisses and steams, filling the air with  
>acrid smoke; but Jekyll continues his work, singing<br>at the same time.

**JEKYLL (CONT'D)  
><strong>BEAUTIFUL AND STRANGE  
>SEE THE COLORS CHANGE<br>BEFORE MY EYES!

SEE HOW THEY DANCE AND THEY SPARKLE  
>LIKE DIAMONDS AT NIGHT<br>LEADING ME OUT OF THE DARKNESS  
>AND INTO THE LIGHT!<p>

Instrumental music continues to build in volume and rate, as  
>Jekyll swirls the brilliant crimson liquid into the dull blue<br>one – and suddenly the mixture is transmuted into a radiant  
>magnesium white, which seems to pulse within the beaker.<br>Dizzy with elation, Jekyll raises the beaker as if in a toast  
>and drinks the radiant liquid.<p>

Then he waits. Nothing. With his other hand he picks up  
>the pen again, dips it in ink, and writes in his journal.<p>

**JEKYLL (CONT'D)  
><strong>11:58 PM. I have consumed 10  
>centiliters of formula HJ7. Salty,<br>bitter taste. Stings the tongue.  
>Warm in the gullet. Heat spreading<br>strongly through my veins. Slight  
>feeling of euphoria. Light-<br>headedness. No noticeable  
>behavioral differences.<br>_(sings)  
><em>NOW THE DIE IS CAST!  
>NOTHING LEFT TO DO!<br>TIME ALONE  
>CAN PROVE MY THEORIES TRUE<br>SHOW THE WORLD...

A blade of pain slashes through him, from scalp to foot. He  
>gasps, staggers.<p>

**JEKYLL (CONT'D)  
><strong>What's this?  
><em>(sings)<br>_SOMETHING'S HAPPENING  
>I CAN'T EXPLAIN!<br>SOMETHING INSIDE ME,  
>A BREATHTAKING PAIN<br>DEVOURS AND CONSUMES ME,  
>AND DRIVES ME INSANE!<p>

He controls his breathing with difficulty, then reaches for  
>the pen, to write again in his journal. He is gripped by an<br>even more searing agony. He twists, shudders, throws the pen  
>aside, and reels around among the laboratory tables, crashing<br>against the glass presses, clutching his stomach, then his  
>head.<p>

**JEKYLL (CONT'D)  
><strong>SUDDENLY –  
>UNCONTROLLED –<br>SOMETHING IS TAKING HOLD

SUDDENLY –  
>AGONY –<br>FILLING ME,  
>KILLING ME!<p>

He staggers to a halt in front of the enormous mirror, and  
>observes the total physical transformation which is<br>occurring, first to his interior, then his exterior. He is  
>becoming EDWARD HYDE. His posture becomes a feral crouch; his<br>voice, a throaty animal rasp. His eyes glow with an unhealthy  
>radiance. Shaken, both thrilled and terrified, he reels back<br>toward the desk, snatches up the pen, and tries to continue  
>his journal entry:<p>

**JEKYLL (CONT'D)  
><strong>SUDDENLY –  
>OUT OF BREATH –<br>WHAT IS THIS?  
>IS IT DEATH?<p>

He wheels around and stares into the mirror again, his  
>transformation into HYDE virtually complete.<p>

**JEKYLL (CONT'D)  
><strong>_(in a hideously altered  
><em>_voice)  
><em>SUDDENLY –  
>LOOK AT ME!<br>CAN IT BE?!  
>WHO IS THIS CREATURE THAT I SEE?!<p>

He howls at his altered reflection in the enormous mirror. It  
>is a howl both of terror and of triumph. He moves around the<br>laboratory now in his panther-like crouch, knocking tables  
>aside, overturning laboratory equipment. Finally, he leaps in<br>front of the mirror again, his eyes and teeth radiant like a  
>beast's.<p>

**HYDE  
><strong>_(in ecstasy)  
><em>Free!

He laughs, one huge scream of laughter, then erupts into a  
>sudden spasm of rage. Seizing a thick silver-knobbed cane<br>from the umbrella stand by the door, he sees the gas lamp  
>burning on the lab table. He smashes it with his heavy cane,<br>laughs again, and then moves with astonishing quickness and  
>ferocity out of the lab and into the night.<p>

EXT. THE EAST END - NIGHT

A mighty rush of wind through the darkness, and suddenly HYDE  
>moves through the streets of London. A nightmarish<br>recollection of Jekyll's walk with Utterson – but strange,  
>distorted and hallucinatory. Indeed, the entire world (and<br>the production style now!) is seen through Hyde's eyes. He  
>laughs the same agonizing laugh of total animal freedom.<p>

SONG: "ALIVE"

**HYDE  
><strong>WHAT IS THIS FEELING OF  
>POWER AND DRIVE<br>I'VE NEVER KNOWN?  
>I FEEL ALIVE!<p>

WHERE DOES THIS FEELING  
>OF POWER DERIVE?<br>MAKING ME KNOW WHY I'M ALIVE!

LIKE THE NIGHT, IT'S A SECRET –  
>SINISTER, DARK, AND UNKNOWN<br>I DO NOT KNOW WHAT I SEEK,  
>YET I'LL SEEK IT ALONE!<p>

I HAVE A THIRST  
>THAT I CANNOT DEPRIVE,<br>NEVER HAVE I FELT SO ALIVE!

THERE IS NO BATTLE  
>I COULDN'T SURVIVE,<br>FEELING LIKE THIS –  
>FEELING ALIVE!<p>

LIKE THE MOON, AN ENIGMA –  
>LOST AND ALONE IN THE NIGHT!<br>DAMNED BY SOME HEAVENLY STIGMA,  
>BUT BLAZING WITH LIGHT!<p>

IT'S THE FEELING OF BEING ALIVE –  
>FILLED WITH EVIL, BUT TRULY ALIVE!<br>IT'S A TRUTH THAT CANNOT BE DENIED!  
>IT'S THE FEELING OF<br>BEING EDWARD HYDE!

Hyde has made his way to the East End. The STREET PEOPLE  
>lurking about are all lower class - among them is Lucy. Hyde<br>follows her through the streets – almost ambushing her  
>several times – a game of cat and mouse.<p>

**HYDE (CONT'D)  
><strong>WAIT!  
>WHAT'S THIS?<br>SWEET MISS!  
>I THOUGHT I HAD LOST YOU!<p>

Hyde approaches Lucy. She responds thinking he is a potential  
>client. Lucy stares at him, uncertain what to make of this<br>strange, intense man. She is somehow fascinated by him.

**HYDE (CONT'D)  
><strong>IT'S FATE!  
>WHAT BLISS!<br>SWEET MISS!

He caresses her bare shoulders; she is drawn to him –  
>something about his eyes. He is running his hands up and down<br>her body, kissing her neck, etc. Hyde's caresses become more  
>violent. Lucy runs away. Hyde allows her to escape.<p>

**HYDE (CONT'D)  
><strong>YOUR FOLLY WILL COST YOU DEAR,  
>MY DEAR,<br>YOU'LL SEE  
>YOU'LL NEVER ESCAPE ME!<br>I'M HERE  
>I FEAR<br>AND YOU WILL PAY DEAR,  
>MY DEAR...<p>

ANIMALS TRAPPED BEHIND BARS  
>IN THE ZOO<br>NEED TO RUN RAMPANT AND FREE!  
>PREDATORS LIVE BY<br>THE PREY THEY PURSUE  
>THIS TIME THE PREDATOR'S ME!<p>

LUST – LIKE A RAGING DESIRE  
>FILLS MY WHOLE SOUL WITH ITS CURSE!<br>BURNING WITH PRIMITIVE FIRE –  
>BERSERK AND PERVERSE!<p>

TONIGHT I'LL PLUNDER HEAVEN BLIND!  
>STEAL FROM ALL THE GODS!<br>TONIGHT I'LL TAKE FROM ALL MANKIND  
>CONQUER ALL THE ODDS!<p>

I FEEL I'LL LIVE ON FOREVER  
>WITH SATAN HIMSELF BY MY SIDE!<br>AND I'LL SHOW THE WORLD THAT  
>TONIGHT AND FOREVER<br>THE NAME TO REMEMBER'S  
>THE NAME EDWARD HYDE!<p>

WHAT A FEELING TO BE SO ALIVE!  
>I HAVE NEVER SEEN ME SO ALIVE!<br>SUCH A FEELING OF EVIL INSIDE!  
>THAT'S THE FEELING<br>OF BEING EDWARD HYDE!

WITH THIS FEELING OF BEING ALIVE,  
>THERE'S A NEW WORLD<br>I SEE COME ALIVE!  
>IT'S A TRUTH THAT CANNOT BE DENIED<br>THERE'S NO FEELING LIKE  
>BEING EDWARD HYDE!<p>

He laughs again, shattering reason, then vanishes, and we are  
>into...<p> 


	8. Chapter 5

EXT. HARLEY STREET - DAY (WEEKS LATER)

The façade of Jekyll's house in Harley Street, as before;  
>brilliant morning sunlight.<p>

After a moment, the front door of the house is opened, and  
>Emma, carrying a small bouquet of flowers, steps out,<br>escorted by Poole.

**POOLE  
><strong>I'm sorry, Miss Carew. Dr. Jekyll  
>has given the strictest<br>instructions that he is not to be  
>disturbed under any circumstances.<br>May I give him a message?

**EMMA  
><strong>_(handing him the flowers)  
><em>Just show him the flowers I  
>brought, Poole... if you can get<br>his attention. Say they are to  
>remind him that there is more in<br>his life than his work – myself for  
>example.<p>

**POOLE  
><strong>A very valid argument, if I may say  
>so, miss.<p>

Poole withdraws into the house. Emma stands looking at the  
>blank façade for another moment.<p>

SONG: "IF YOU ONLY KNEW"

**EMMA  
><strong>IF YOU ONLY KNEW  
>HOW MUCH I LOVE YOU,<br>WOULD YOU STILL BEHAVE  
>THE WAY YOU DO?<br>FOREVER TEMPTING FATE  
>WHILE I JUST SIT AND WAIT<br>AND WORRY ABOUT  
>WHAT FATE MIGHT DO TO YOU<p>

IF YOU ONLY KNEW HOW MUCH I SUFFER,  
>WOULD YOU MAYBE<br>CHANGE YOUR POINT OF VIEW?  
>OR WILL YOU STILL GO ON<br>TILL ALL OUR DREAMS ARE GONE  
>AND HOPE<br>THAT I WILL STILL BE THERE FOR YOU?

MUST I GO ON LIKE THIS FOREVER –  
>NOT KNOWING WHEN OR WHETHER<br>YOU'LL RETURN?  
>DO I JUST SIT AND YEARN<br>OR TRY TO LIVE AND LEARN  
>AND LEARN TO LIVE WITH<br>WHAT YOU PUT ME THROUGH?  
>IF YOU ONLY KNEW...<p>

I'M NOT AS FRAGILE  
>AS I MAY APPEAR TO BE<br>I WON'T SO EASILY BREAK IN TWO

IF YOU ONLY KNEW HOW MUCH I WONDER  
>WHETHER YOU'RE AWARE<br>YOU NEED ME TOO  
>IF YOU WERE NOT SO BLIND<br>TOGETHER WE COULD FIND  
>THE PEACE OF MIND<br>THAT MAKES OUR DREAMS COME TRUE!  
>IF YOU ONLY KNEW...<br>IF YOU ONLY KNEW...  
>IF YOU ONLY KNEW...<p>

Emma then starts off. Utterson encounters Emma on the  
>sidewalk.<p>

**EMMA (CONT'D)  
><strong>He won't see me.

**UTTERSON  
><strong>This is absurd!

Utterson goes to the door of Jekyll's house, knocks once, and  
>proceeds inside, without waiting for the door to be answered.<p>

**DANVERS  
><strong>He is sacrificing everything  
>valuable in his life to these<br>experiments.

**EMMA  
><strong>His experiments are the most  
>valuable thing in his life.<p>

**DANVERS  
><strong>After you, of course.

**EMMA  
><strong>No, before me. I understand that,  
>Father.<p>

We move into...

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll's sparsely but elegantly furnished office/consulting  
>room, as before. Poole is taking Utterson's coat and hat.<p>

**POOLE  
><strong>I did not want to alarm Miss Carew,  
>sir. And it is hardly my place to<br>criticize the Doctor, but his  
>behavior this past week...<p>

Suddenly, from the laboratory beyond, Jekyll is heard,  
>shouting:<p>

**JEKYLL (O.S.)  
><strong>Poole! Poole!

A stressed Jekyll, half-dressed, unshaven, his eyes  
>unfocused, staggers into the office, unaware of Utterson's<br>presence.

**JEKYLL (CONT'D)  
><strong>Poole, I have been ringing for a  
>quarter of an hour! I want you to<br>go to Mister Bisset, the  
>apothecary, immediately and get me<br>these chemicals...  
><em>(thrusts a piece of paper<br>__into Poole's hand)  
><em>Now, Poole!

**POOLE  
><strong>I'll see to it, sir!

Poole glances quickly at Utterson, then hurries out of the  
>office.<p>

**UTTERSON  
><strong>Henry!

Jekyll wheels round and stares at Utterson, as though not  
>recognizing him at first.<p>

**JEKYLL  
><strong>John! ...Well, to what do I owe  
>this unexpected visit?<p>

**UTTERSON  
><strong>Henry, you look terrible! What is  
>going on?<p>

**JEKYLL  
><strong>John!

He moves to his desk, unlocks a drawer, and takes out three  
>sealed documents. He moves back, unsteadily, toward Utterson.<p>

**JEKYLL (CONT'D)  
><strong>There is a letter here for Emma –  
>one for her father – and one for<br>you. If I should ever – be taken  
>ill... or should have to go away<br>for a time.

Utterson takes the documents from Jekyll and stares  
>desperately, blankly, at the sealed letters.<p>

**UTTERSON  
><strong>Go away? Henry, what are you  
>saying?<p>

**JEKYLL  
><strong>_(annoyed)  
><em>John, you are my lawyer! You must  
>do this for me.<p>

**UTTERSON  
><strong>And you, my dear Henry, must re-  
>examine your priorities!<p>

Utterson leaves, disconsolate, taking the sealed documents  
>with him.<p>

EXT. HARLEY STREET - AS BEFORE

Utterson re-joins Emma and Sir Danvers and shakes his head  
>"no." They start to leave down the street.<p>

From the other end of the road, Lucy appears, looking for the  
>right house, with Jekyll's card in hand. Emma notices her and<br>observes Lucy going to Jekyll's door. Emma leaves pensively.

INT. DR. JEKYLL'S CONSULTING ROOM

Jekyll has sat at a desk and is writing in his journal.

**JEKYLL (V.O.)  
><strong>_(as he writes)  
><em>September 25th - second week. My  
>nightly transformations are beyond<br>imagining. As delightful as wine,  
>yet tenfold more intoxicating. Such<br>delirium occurs that I can only  
>recall feeling younger, lighter,<br>and twice as alive. I have altered  
>the balance of the formula, in<br>hopes to remember more about these  
>strange, new, sweet sensations.<br>Tonight I shall...

After a moment, Poole comes in from another part of the  
>house.<p>

**POOLE  
><strong>A young woman to see you, sir. The  
>kind one cannot mistake. She is<br>without appointment.

**JEKYLL  
><strong>Send her away.

**POOLE  
><strong>Yes sir. I cannot imagine how she  
>came to have your visiting card,<br>sir.

A pallor sets on him, realizing who she must be.

**JEKYLL  
><strong>_(taking the card)  
><em>My card! I shall see her Poole.

Poole goes out to admit Lucy.

Jekyll quickly takes off his housecoat, takes a clean jacket  
>from a coat-tree and puts it on. He looks at himself in the<br>mirror, smooths his hair down, rubs his face.

When he looks into the mirror again, Lucy has entered and is  
>standing behind, looking at him in the mirror. She is dressed<br>as well as she can manage, in worn but very clean clothes,  
>her pathetic best.<p>

Jekyll turns to her, smiles uncertainly.

**JEKYLL (CONT'D)  
><strong>Good morning, Miss...?

**LUCY  
><strong>Lucy... Lucy 'Arris. I'm the one ya  
>met that night in the pub –<br>remember?

**JEKYLL  
><strong>Yes, I remember. Please.  
><em>(indicating her to sit)<em>

Lucy sits at the end of the chaise longue.

**LUCY  
><strong>Ya said if I "ever needed a  
>friend"...<p>

**JEKYLL  
><strong>Yes, yes of course.

She looks at him for another moment, then takes off her  
>shawl, unbuttons her blouse, lowers it, and turns to show<br>Jekyll the abrasions and bruises on her back and shoulders.  
>Jekyll sees, we don't. He is horrified.<p>

**LUCY  
><strong>Pretty, i'n' it?

**JEKYLL  
><strong>My God!

He draws a large white screen around the chaise, then goes to  
>the glass presses on either side of the fireplace, extracts<br>ointment and bandages for her, then quickly washes his hands.  
>Jekyll moves back to her, cleans and dresses her wounds.<p>

**JEKYLL (CONT'D)  
><strong>Who on earth would do such a thing?

**LUCY  
><strong>Things like this 'appen where  
>I come from.<p>

**JEKYLL  
><strong>You have family?

**LUCY  
><strong>Ain't got no family.

**JEKYLL  
><strong>_(goes to his medicine cart  
><em>_and wets a small cloth  
><em>_with antiseptic)  
><em>Why didn't you go to the police?

**LUCY  
><strong>A girl like me makin' a complaint  
>about a man like 'im? A rich man?<br>Besides, 'e keeps comin' 'round,  
>and I'm afraid of what 'e might do<br>if 'e found out I went to the  
>police. You don't know, sir... 'e'd<br>kill me if 'e 'ad a mind to. 'E  
>ain't 'uman. 'Yde 'e calls 'imself<br>– Edward 'Yde.

Far away and overhead, unheard by Lucy and Jekyll: the brief  
>lamenting sound of "angel voices, weeping." It fades in an<br>instant. Jekyll reacts to the hazy memory, shuddering in  
>spite of himself.<p>

He returns to treating her back - she winces in pain.

**JEKYLL  
><strong>I'm so sorry... I'm so... sorry.

**LUCY  
><strong>I never 'ad someone like you be  
>nice to me before. Ya' make me feel<br>like a lady.

**JEKYLL  
><strong>You are a most extraordinary lady.

He continues to treat her back, crossing to the medicine cart  
>to prepare bandages, and returning to administer them to her.<p>

SONG: "SYMPATHY, TENDERNESS"

**LUCY (V.O.)  
><strong>SYMPATHY, TENDERNESS,  
>WARM AS THE SUMMER,<br>OFFER ME THEIR EMBRACE  
>FRIENDLINESS, GENTLENESS,<br>STRANGERS TO MY LIFE,  
>THEY ARE THERE IN HIS FACE<p>

GOODNESS AND SWEETNESS AND KINDNESS  
>ABOUND IN THIS PLACE<br>I AM IN LOVE WITH THE THINGS  
>THAT I SEE<br>IN HIS FACE

IT'S A MEMORY I KNOW  
>TIME WILL NEVER ERASE<p>

He offers his hand. She takes it and pulls him to her and  
>kisses him. He pulls away, stunned that he has just kissed<br>her. A memory stirring in his mind.

**JEKYLL  
><strong>Forgive me - you've caught me at a  
>most difficult time. Good day, Miss<br>Harris.

**LUCY  
><strong>Good day.

He looks at her for another long moment, then stands and  
>moves to the other side of the screen, putting away bandages<br>and ointment, and washing his hands again.

SONG: "SOMEONE LIKE YOU"

**LUCY (CONT'D)  
><strong>I PEER THROUGH WINDOWS  
>WATCH LIFE GO BY<br>DREAM OF TOMORROW,  
>AND WONDER WHY<p>

THE PAST IS HOLDING ME,  
>KEEPING LIFE AT BAY<br>I WANDER LOST IN YESTERDAY,  
>WANTING TO FLY<br>BUT SCARED TO TRY

IF SOMEONE LIKE YOU  
>FOUND SOMEONE LIKE ME<br>THEN SUDDENLY,  
>NOTHING WOULD EVER BE THE SAME<p>

MY HEART WOULD TAKE WING  
>AND I'D FEEL SO ALIVE<br>IF SOMEONE LIKE YOU  
>FOUND ME!<p>

She puts her blouse back on and remains sitting, breathing in  
>the atmosphere of this refuge. Jekyll is now visible only as<br>a shadow, behind the white screen. She looks at this shadow.

**LUCY (CONT'D)  
><strong>SO MANY SECRETS  
>I LONG TO SHARE<br>ALL I HAVE NEEDED  
>IS SOMEONE THERE<p>

TO HELP ME SEE A WORLD  
>I'VE NEVER SEEN BEFORE!<br>A LOVE TO OPEN EVERY DOOR  
>TO SET ME FREE<br>SO I CAN SOAR!

IF SOMEONE LIKE YOU  
>FOUND SOMEONE LIKE ME<br>THEN SUDDENLY,  
>NOTHING WOULD EVER BE THE SAME<p>

MY HEART WOULD TAKE WING  
>AND I'D FEEL SO ALIVE<br>IF SOMEONE LIKE YOU  
>FOUND ME!<p>

IF SOMEONE LIKE YOU  
>FOUND SOMEONE LIKE ME<br>THEN SUDDENLY,  
>NOTHING WOULD EVER BE THE SAME<p>

MY HEART WOULD TAKE WING  
>AND I'D FEEL SO ALIVE<br>IF SOMEONE LIKE YOU LOVED ME!  
>LOVED ME!<br>LOVED ME!

She sits perfectly still, rapt by the vision of a different  
>future. Jekyll's shadow has disappeared now. We hear the<br>distant, mournful sound of a river barge's horn, as we move  
>into...<p>

EXT. EAST END EMBANKMENT - NIGHT

The embankment, near "The Red Rat"; dusk. Smoke and wisps of  
>grey-brown fog rise from the river, obscuring the façades of<br>shabby houses, many of their windows and doors boarded up.

As Lucy is wandering along, she passes a crouched silhouette.  
>She looks back at him. Hyde stands up. Lucy quickly scurries<br>away and Hyde follows after her.

Moments later, Nellie, in her red dress, comes out of the  
>shabbiest of the houses, followed by a surprising client...<p>

...the BISHOP OF BASINGSTOKE, dressed soberly, with clerical  
>collar, last seen with the HOSPITAL BOARD OF GOVERNORS<br>sanctimoniously looting against the Jekyll proposals that  
>have precipitated the circumstances in which we now find<br>ourselves.

She leads him by the hand. The Bishop is clearly very content  
>to be in the dubious company of Nellie, who is jangling her<br>front door keys coquettishly as she walks.

**NELLIE  
><strong>_(sexily)  
><em>I 'ope everythin' was to your  
>satisfaction, Yer Grace?<p>

**BISHOP  
><strong>_(looking around a bit nervously)  
><em>Very nice. Yes. I'd like to see you  
>again, next week.<p>

**NELLIE  
><strong>Certainly, Yer Grace. 'Appy to  
>oblige. Must make a pleasant change<br>from all your charity work.  
><em>(hand out, as the Bishop<br>__starts to depart)  
><em>Of course, I don't do it for  
>charity!<p>

The Bishop gets the hint. He takes out money and gives it to  
>Nellie.<p>

**NELLIE (CONT'D)  
><strong>Long as ya' 'ave a good time, Yer  
>Grace, that's all that matters to<br>me! 'Til Wednesday, then?

**BISHOP  
><strong>Very nice. Yes.

She departs. The Bishop waves to her lightly, as though  
>wafting a blessing. Nellie disappears down a narrow alley<br>between the old houses.

The Bishop looks around again, nervously, then starts off. He  
>passes a few VAGRANTS huddled around a fire. A few BUMS are<br>drinking, some slumped in heaps.

Suddenly...

...seemingly out of nowhere the Bishop hears the echoes of a  
>voice call out to him.<p>

**HYDE (O.S.)  
><strong>Your Grace...

A heartbeat pulses on the soundtrack. The Bishop slowly turns  
>around, but nobody acknowledges him. He continues on.<p>

**HYDE (O.S.) (CONT'D)  
><strong>You hypocrite!

The word echoes.

The Bishop whips around, certain of what he's heard. He  
>searches the few empty faces nearby.<p>

**HYDE (O.S.) (CONT'D)  
><strong>If it isn't the Romeo of the  
>Cloth...<br>_(a low sinister laugh)  
><em>And the Juliet of the Gutter!

Suddenly, as though from nowhere, Edward Hyde stands before  
>him, grinning savagely, crouched, leaning on a walking stick<br>with a heavy pewter knob, ready for action.

**HYDE (CONT'D)  
><strong>A truly pretty pair!

**BISHOP  
><strong>Who are you?

Hyde slowly removes his hat and grins at the Bishop. The  
>street people gradually leave, sensing danger. The Bishop<br>tries to walk around him in a huff. Hyde blocks his path.

**HYDE  
><strong>How it warms my heart to know that  
>even here in the sewers of<br>London...

Unsuccessful at passing around Hyde, the Bishop turns and  
>walks the other way.<p>

**HYDE (CONT'D)  
><strong>...romance can blossom for a  
><span>hypocrite<span>!

Outraged, the Bishop whips around in fury.

**BISHOP  
><strong>_(blusters)  
><em>How dare you speak to me like that,  
>sir! Do you know who I am?<p>

**HYDE  
><strong>Oh, yes...  
><em>(walks up to him slowly)<br>_Your Grace.  
><em>(bows down before him in a<br>__grandiose manner)  
><em>I know exactly who - you - are.  
><em>(grabs his shirt)<br>_You are Basil, the 14th Bishop of  
>Basingstoke.<br>_(throws him)  
><em>You're on the Board  
><em>(kicks him)<br>_of St. Jude's Hospital,  
><em>(points)<br>_and you are an obscene,  
><em>(hits him)<br>_self-indulgent,  
><em>(kicks him)<br>_corrupt,  
><em>(presses him with cane)<br>_and malignant - hypocrite!

The Bishop throws him off, grabbing his cane.

**HYDE (CONT'D)  
><strong>Hypocrite! Hypocrite!

The Bishop tries to get away, Hyde chases him.

SONG: "ALIVE" (reprise)

Hyde catches him and throws him down and hits him with his  
>cane on each verse of the song. Each growled word is<br>accompanied by another shattering blow of the walking stick,  
>to the Bishop's head, shoulders, rib-cage.<p>

**HYDE (CONT'D)  
><strong>AND I FEEL I'LL LIVE ON FOREVER  
>WITH SATAN HIMSELF BY MY SIDE!<br>AND I'LL SHOW THE WORLD THAT  
>TONIGHT AND FOREVER<br>THE NAME TO REMEMBER'S  
>THE NAME EDWARD HYDE!<p>

On the final word, he suddenly brings the pewter knob  
>crashing down on the Bishop's skull, felling him like an ox.<br>Finally, the Bishop lies still. The only sound is Hyde's  
>heavy, arrhythmic, rasping breath.<p>

Hyde prods the Bishop's body a few more times with the  
>walking stick, then laughs, steps over the body, and walks to<br>the river's edge, invigorated, stretching his ape-like frame.

**HYDE (CONT'D)  
><strong>WHAT A FEELING TO BE SO ALIVE!  
>I HAVE NEVER SEEN ME SO ALIVE!<br>SUCH A FEELING OF EVIL INSIDE!  
>THAT'S THE FEELING OF<br>BEING EDWARD HYDE!

Fog rises from the river, obscuring the grinning, triumphant  
>figure.<p>

CUT TO BLACK:


	9. Chapter 6

DARKNESS

In the darkness, as though far away and above, in the ether,  
>the upward-winding cry of unearthly voices, odd mourning<br>wisps, as in the prologue - the "angels weeping."

**JEKYLL (V.O.)  
><strong>September 29th. Day four of the  
>latest adjusted formula. I believe<br>I may finally be experiencing  
>results with developing a memory of<br>these nightly altered states. Faint  
>shadows of wicked, unspeakable<br>images keep haunting me. Dear God,  
>I pray these are merely nightmares.<p>

FADE IN:

EXT. NEGLECTED SQUARE BEHIND HARLEY STREET - LONDON - DAY

A smudgy lurid twilight discovers the same windowless façade  
>of soiled red brick (as in the first scene), before which<br>appears a CROWD of PEOPLE, swirling, mixing, then separating  
>(like fog), various classes and attitudes, including a<br>NEWSBOY hawking his papers. Throughout the verse, more and  
>more people buy them to read about the shocking story,<br>comment to each other about what they are reading.

SONG: "MURDER, MURDER"

**NEWSBOY  
><strong>READ ABOUT THE HIDEOUS MURDER  
>PROFANE, RELIGIOUS MURDER!<p>

**FIRST GENTLEMAN  
><strong>THAT POOR OLD BISHOP!  
>WHAT A SHOCK!<p>

**STREET VENDOR  
><strong>SEEN WALKIN' WIV HIS DAUGHTER  
>A MOMENT PRIOR TO SLAUGHTER!<p>

**NEWSBOY  
><strong>THE SHEPHERD TENDIN' TO HIS FLOCK!

**CROWD  
><strong>_(variously, in various  
><em>_London dialects)  
><em>'E DIED IN A LONDON SLUM!  
>A SLAVE TO MARTYRDOM!<br>'E DIED WITHOUT COMPLAINT!  
>'E SHOULD BE MADE A SAINT!<p>

'E'S GONE BACK 'OME TO GOD!  
>IT ALL SEEMS VERY ODD!<br>WHY SHOULD IT BE?  
>THIS MYSTERY?<p>

**ALL  
><strong>MURDER, MURDER!  
>IN THE NIGHT AIR!<br>MURDER, MURDER!  
>IT'S A NIGHTMARE!<br>MURDER, MURDER!  
>IT'S A RIGHT SCARE!<br>BLOODY MURDER  
>IN THE NIGHT!<p>

MURDER, MURDER!  
>MAKES YOUR 'EART THUMP!<br>MURDER, MURDER!  
>MAKES YOUR NERVES JUMP!<br>MURDER, MURDER!  
>MAKES YOUR BLOOD PUMP!<br>BLOODY MURDER IN THE NIGHT!

Music continues, pumping, and the CROWD continues to mill and  
>swirl, as we...<p>

CUT TO:

EXT. OUTSIDE CATHEDRAL - DAY

A relatively modest aisle-exit from an imposing religious  
>edifice. From within, we hear the conclusion of the BISHOP OF<br>BASINGSTOKE's obsequies:

**PRIEST (O.S.)  
><strong>SWEET DEATH HAS TAKEN  
>THIS BRAVE MAN FROM US!<p>

**CATHEDRAL CHOIR (O.S.)  
><strong>REQUIEM AETERNAM

**PRIEST (O.S.)  
><strong>FRIENDS, TAKE WHAT COMFORT  
>THAT YOU CAN FROM US!<p>

**CATHEDRAL CHOIR (O.S.)  
><strong>DONA EIS, DOMINE...

The CROWD on the street has thinned considerably. Religious  
>music continues within, as Stride steps forth from the aisle-<br>exit. Hyde appears from behind a weather-stained buttress.

**HYDE  
><strong>Mr. Stride... that was a wonderful  
>eulogy they gave. Don't you agree?<p>

Glossop overhears and joins them, more heavily made-up than  
>usual, in his best dress uniform.<p>

**GLOSSOP  
><strong>I say! Who in Hell-fire are you?

**HYDE  
><strong>There's nothing more tragic than a  
>close friend's funeral... unless,<br>of course,  
><em>(to Glossop)<br>_it's your own... eh, General?

**GLOSSOP  
><strong>I don't take your meaning, sir!

**HYDE  
><strong>Yes...  
><em>(seizing the general's<br>__shoulder in his claw-like  
><em>_grip)  
><em>You miserable hypocrite!

Hyde hurls Glossop to the ground.

**HYDE (CONT'D)  
><strong>Oh, don't look so distraught,  
>Simon. They'll probably put up a<br>statue in his memory!

The general opens his mouth wide, to cry out. Hyde straddles  
>him and thrusts the large pewter knob of his walking stick<br>into the gaping mouth, then pulls the stick sharply to one  
>side, snapping the general's neck.<p>

**ALL (O.S.)  
><strong>GOD IN HEAVEN – NOW, FOREVER  
>TAKE HIM HOME AND HOLD HIM NEAR!<p>

Hyde laughs, one ape-like yelp, then disappears into a cellar  
>or gutter. At the same time, distantly, there is a<br>reminiscence of the child-like voices, winding upward through  
>the ether – "the angels weeping."<p>

Then, those of the crowd who have witnessed the crime come  
>forward around the general's twisted corpse, and are joined<br>by OTHERS, new to the scene.

DISSOLVE TO:

NEWSBOYS are doing a brisk business on the site of the  
>murder. Their billboards read "WAR LORD GLOSSOP MURDERED" and<br>"SECOND SLAYING IN FIVE DAYS." Some STREET PEOPLE gather in  
>clusters, reading the sensational story splashed across the<br>papers, stunned by the news. POLICEMEN try to control the  
>crowd with lanterns and whistles. Stride is reporting to a<br>DETECTIVE, who jots Stride's statements down on a pad of  
>paper.<p>

**NEWSBOY  
><strong>Murder! Second London murder!  
>General Glossop killed on the steps<br>o' St. Paul's Cathedral!

**A MAN  
><strong>LOOK AT THIS – ANOTHER MURDER!  
>JUST LIKE THAT OTHER MURDER!<p>

**STRIDE  
><strong>THAT POOR OLD GENERAL GLOSSOP – DEAD!

**A BOY  
><strong>LAST WEEK THE BISHOP COPPED IT!  
>THE BLOKE WHAT DONE IT HOPPED IT!<p>

**STRIDE  
><strong>THE FELLER MUST BE OFF HIS HEAD!

**DETECTIVE  
><strong>THAT'S TWO IN THE LAST FOUR DAYS!

**ANOTHER CROWD MEMBER  
><strong>THIS KILLER HAS FANCY WAYS!

**A FOURTH  
><strong>TO TOPPLE FROM THEIR PERCH  
>THE ARMY AND THE CHURCH!<p>

**STRIDE  
><strong>HE HATES THE UPPER CLASS!

**A FIFTH  
><strong>HE MUST BE ON HIS ARSE!  
>WHO COULD IT BE?<p>

**STRIDE  
><strong>DON'T LOOK AT ME!

Stride storms away from the detective. The street people are  
>in a panic.<p>

**CROWD  
><strong>MURDER, MURDER!  
>MAKES ME BLOOD THIN!<br>MURDER, MURDER!  
>MAKES ME HEAD SPIN!<br>MURDER, MURDER!  
>STARTS ME DRINKIN'!<br>BLOODY MURDER  
>IN THE NIGHT!<p>

The crowd begins to disperse again, and the street before the  
>Cathedral clears.<p>

CUT TO:

INT. A CARRIAGE - EVENING

We find ourselves in a carriage full of UPPER-CLASS PEOPLE en-  
>route to an evening function. The group includes the<br>remaining Board members, Sir Danvers, Emma... and three snooty  
>GOSSIPS.<p>

**EMMA  
><strong>WHAT A SHAME DEAR GENERAL GLOSSOP.

**GOSSIPS  
><strong>I HEAR THERE'S A LOT OF GOSSIP,  
>ALTHOUGH IT DIDN'T COME FROM ME<p>

**1ST GOSSIP  
><strong>Never!

**2ND GOSSIP  
><strong>No!

**3RD GOSSIP  
><strong>Of course not!

Uncomfortable with the gossips' attitude, Emma diverts her  
>attention to other conversation. The gossips glance back at<br>Emma snobbishly.

**1ST GOSSIP  
><strong>I SAY THAT IT GOES TO SHOW  
>SOME PEOPLE WE THINK WE KNOW<br>AREN'T WHAT THEY MIGHT APPEAR!

**2ND GOSSIP  
><strong>HOW RIGHT YOU ARE, MY DEAR!

**GOSSIPS  
><strong>IT'S SUCH A SHOCKING THING!  
>BUT AWFULLY INTERESTING.<br>WHO COULD IT BE?  
>WELL NOW LET'S SEE!<p>

EXT. STREETS OF LONDON (MONTAGE)

Various vignettes of street people wandering around,  
>commenting to each other.<p>

**CROWD  
><strong>MURDER, MURDER!  
>DOIN' FOLKS IN!<br>MURDER, MURDER!  
>IS THE WORST SIN!<br>MURDER, MURDER  
>HAS ME SCREAMIN'<br>BLOODY MURDER IN THE NIGHT!

CUT TO:

INT. A PHARMACY - DUSK

The interior of a cramped, dirty apothecary; signs on the  
>windows, which can be read in reverse: "PHARMACY" and<br>"CLOSED."

JEKYLL, haggard and hastily clad, appears outside the door,  
>and knocks loudly, repeatedly, impatiently on the frame of<br>the doorway with the metal knob of his cane.

BISSET, a perennial victim of chemical stains and burns,  
>appears from within the shop, and reluctantly opens to<br>Jekyll.

**JEKYLL  
><strong>Bisset, do you have the chemicals?

**BISSET  
><strong>All but two, sir.

Bisset hands him a package, wrapped in brown paper.

**JEKYLL  
><strong>When will you have the others?

**BISSET  
><strong>Tomorrow night, sir. What are they  
>for?<p>

**JEKYLL  
><strong>_(a growl, not his own voice)  
><em>It's none of your bloody business  
>what they're for, Bisset!<p>

**BISSET  
><strong>No, sir. I'm sorry, sir. It's just  
>that...<br>_(concerned)  
><em>... you don't seem to be quite  
>yourself, Doctor Jekyll.<p>

**JEKYLL  
><strong>_(softens)  
><em>I've been better, Bisset... I've been  
>better.<p>

He hurries out with the package. Bisset closes the door to  
>his shop, locks it, and turns out the lights.<p>

EXT. LONDON STREET - DUSK

As Jekyll rushes down the street, in the gathering darkness,  
>we can hear members of the crowd gossiping about the murders<br>on the street.

**UPPER CRUST ON THE** **STREET  
><strong>LONDON HAS A KILLER  
>ON THE LOOSE!<br>COULD BE A GANG!

**LOWER CRUST  
><strong>GOTTA GET 'IS HEAD INSIDE A NOOSE!  
>THE MAN MUST HANG!<p>

**CROWD  
><strong>_(variously)  
><em>MAYBE HIS NERVE WILL FAIL HIM!  
>THEY MUST GO OUT AND NAIL HIM!<br>THEY'VE GOTTA TRAIL  
>AN' JAIL HIM NOW!<p>

**ALL  
><strong>MURDER!

NO MATTER WHO WE'RE BLAMIN'  
>TILL THEY PULL WOTSISNAME IN,<br>THERE'S GONNA BE ONE FLAMIN' ROW!

MURDER, MURDER!  
>IT'S A CURSE, MAN!<br>MURDER, MURDER!  
>IT'S PERVERSE, MAN!<br>MURDER, MURDER!  
>NOTHING'S WORSE THAN<br>BLOODY MURDER IN THE NIGHT!

DISSOLVE TO:

EXT. MAYFAIR CLUB - NIGHT

The discreetly elegant doorway of "The Mayfair Club," the  
>finest social and supper club in the West End. Gaslight<br>flares brightly, even though fog has begun to gather in the  
>late evening. The CROWD on the street is sparse again, and<br>made up almost entirely of LADIES and GENTLEMEN OF  
>DISTINCTION, on their way home after cultural or other<br>pleasurable pursuits.

A MAÎTRE D'HÔTEL and a DOORMAN help an inebriated threesome –  
>LADY BEACONSFIELD, flanked by PROOPS and LORD SAVAGE,<br>doddering still more than when we last saw him – out the  
>doorway of the club and down the steps to the street. Stride<br>follows them, looking for a Hansom cab.

**SAVAGE  
><strong>_(loudly)  
><em>I'm bored gutless with all these  
>damned charity dinners, Bessie.<p>

The MAÎTRE D'HÔTEL sends the DOORMAN to fetch their carriage,  
>then disappears back into the club.<p>

**PROOPS  
><strong>Outrageous! When I order a decent  
>claret, I expect a decent claret!<p>

**BEACONSFIELD  
><strong>Oh, Archie, you wouldn't know a  
>decent claret if it poured itself<br>down your shirt!

**PROOPS  
><strong>_(incensed)  
><em>Bessie, that's preposterous, of  
>course I would!<p>

**BEACONSFIELD  
><strong>Then why do you always serve that  
>cheap swill when we dine at your<br>place?

Savage and Lady Beaconsfield erupt in laughter, which is cut  
>short, as Edward Hyde steps out of the fog, clothed in the<br>fog's colors. Proops, startled, cries out. PEOPLE on the  
>street stop to watch, but keep their distance, as does the<br>returning Doorman.

**HYDE  
><strong>Well, well, well if it isn't Faith,  
>Hope... and Charity!<p>

**PROOPS  
><strong>And who are you, sir?

Stride turns and half looks on the conversation.

**HYDE  
><strong>_(smiles)  
><em>Oh, nobody you would know, Sir  
>Archibald - Lady Beaconsfield –<br>Your Lordship.  
><em>(bowing to them, giving<br>__Stride exactly the same  
><em>_murderous grin that he  
><em>_did before)_

Stride is now aware of impending danger as he tries to warn  
>them.<p>

**STRIDE  
><strong>_(aghast)  
><em>You! ...Lady Beaconsfield, please,  
>get inside!<p>

He tries to get her and Savage to leave, they are afraid to  
>move.<p>

**PROOPS  
><strong>_(stepping forward to  
><em>_confront him, wobbling  
><em>_drunkenly)  
><em>Step aside, you!  
><em>(prodding the intruder<br>__with his umbrella)  
><em>Damn insolence! Have you arrested.

Hyde turns to him.

**STRIDE  
><strong>My God! No...

Stride tries to stop Hyde, but Hyde knocks him to the ground  
>with one mighty blow.<p>

**HYDE  
><strong>No one touches Hyde!

They all stand in shock at this show of violence. Proops  
>makes a pathetic attempt to ward him off with his umbrella.<p>

**PROOPS  
><strong>This... this is my final admonition! ...

**HYDE  
><strong>And this is mine!

He whips a gleaming knife from beneath his cape and drives it  
>in beneath Proops' breastbone. Lady Beaconsfield, Lord<br>Savage, and others on the street gasp, then stand, rooted in  
>horror.<p>

Hyde holds Proops on the knife blade for a long instant, then  
>withdraws the knife, and Proops falls soddenly to the<br>pavement. The "angels" are heard, distantly, "weeping."

Then Hyde turns and grins at Lady Beaconsfield and Lord  
>Savage.<p>

**HYDE (CONT'D)  
><strong>Now let's have a closer look at you  
>two!<p>

Savage seizes Lady Beaconsfield's arm and starts back inside  
>the club, followed by the Doorman.<p>

Before she has taken more than a few steps, Hyde grabs Lady  
>Beaconsfield's other arm and wrenches her away from Lord<br>Savage's feeble grip.

**SAVAGE  
><strong>Bessie!  
><em>(runs away pathetically<br>__muttering for help)  
><em>Oh, God... Someone help...  
>Please... anyone! ...Help!<p>

But the Doorman has already disappeared, back into the club.  
>Lady Beaconsfield, paralyzed with terror, stares into Hyde's<br>glowing eyes and puts up very little resistance.

**HYDE  
><strong>Bessie, my love... you really  
>should know better... wearing your<br>real diamonds out on the street!

He stretches out one claw-like long-fingered hand and wraps  
>it around her necklace, while he holds her close to him with<br>his other arm.

**HYDE (CONT'D)  
><strong>You never know whom you might  
>encounter!<p>

**BEACONSFIELD  
><strong>Pleeeease...

**HYDE  
><strong>_(with total venom)  
><em>"Please"! That's a hard word for  
>you to pronounce, isn't it, milady?<br>It must be the first time you've  
>used it!<p>

She is about to speak, but he jerks and tightens the necklace  
>around her throat, cutting off the supply of oxygen. She<br>struggles, but only feebly, briefly, in his grasp. Then she  
>is still – and again we hear "the angels weeping."<p>

Her head dangles lifelessly from the necklace still in his  
>grip. He jerks it from her and her body falls to the ground.<p>

**HYDE (CONT'D)  
><strong>You despicable old drunk!

A semi-conscious Stride painfully half sits up, trying to  
>focus on the scene.<p>

**HYDE (CONT'D)  
><strong>_(to Stride)  
><em>Well, well, well! Mr. Stride! How  
>convenient for me that you<br>hypocrites all hang together!

Hyde suddenly grabs Stride and puts the knife to his neck,  
>holding it there for a moment. Distant POLICE WHISTLES are<br>heard.

**HYDE (CONT'D)  
><strong>No... not yet!

With another maniacal laugh, Hyde runs off into the shadows,  
>and Stride crawls off, as the fog swirls more thickly.<p>

DISSOLVE TO:

MOMENTS LATER

A CROWD swarms around, amid confused shouting and the blowing  
>of police whistles, as POLICEMEN come to bear PROOPS' body<br>away. More lurid headlines – "BRUTAL DEATH OF LADY  
>BEACONSFIELD AND SIR ARCHIBALD PROOPS," "DOUBLE MAYFAIR<br>MURDER," etc., fill the eye and the news bills. EVERYONE  
>looks appropriately nervous.<p>

**FIRST NEWSBOY  
><strong>READ ABOUT THE WORST TWO MURDERS!

**SECOND NEWSBOY  
><strong>MUCH WORSE THAN THE FIRST  
>TWO MURDERS!<p>

**CROWD  
><strong>THAT MAKES IT MURDERS  
>THREE AN' FOUR!<br>_(variously)  
><em>THEY'VE MURDERED DEAR OLD BESSIE!  
>I HEAR <span>EXTREMELY<span> MESSY!  
>AND POOR OLD ARCHIE IS NO MORE!<br>(I'VE NEVER READ/HEARD  
>SUCH BLOOD AND GORE!)<p>

**ALL  
><strong>THAT'S FOUR IN THE LAST EIGHT DAYS!  
>IT'S LONDON'S LATEST CRAZE!<p>

**FIRST NEWSBOY  
><strong>THIS TIME HE WAS IN PARK LANE!

**SECOND NEWSBOY  
><strong>AN' HE MAY COME BACK AGAIN!

**CROWD  
><strong>UNTIL THE KILLER'S FOUND  
>THERE'S DANGER ALL AROUND<br>WHAT CAN WE DO?  
>WE WISH WE KNEW!<p>

The police now depart with the bodies. The crowd cries out,  
>shoves and swarms.<p>

**CROWD (CONT'D)  
><strong>MURDER, MURDER!  
>ONCE THERE'S ONE DONE<br>MURDER, MURDER  
>CAN'T BE UNDONE!<br>MURDER, MURDER  
>LIVES IN LONDON!<br>BLOODY MURDER IN THE NIGHT!

ALL flee into the night.

Suddenly... (the audience should jump!)

...a shrill railway whistle is heard, and the sound of metal  
>wheels grinding on metal rails!<p>

CUT TO:

INT. PLATFORM AT KING'S CROSS STATION - DAY

A departure platform at King's Cross Station; the fog melding  
>with steam from the rails and from the engines. Station noise<br>continues.

Lord Savage, surrounded by several large carpet bags, is  
>waiting for a train which will take him away from the horror<br>that is London now.

Out of the OTHER TRAVELERS, RAILWAY OFFICIALS, and ASSORTED  
>VENDORS, who idle about, Sir Danvers and Emma appear. They<br>catch sight of Lord Savage. They come to him.

He shakes hands with Danvers, nods to Emma.

**DANVERS  
><strong>Herbert! I got your message. What's  
>the urgency?<p>

**SAVAGE  
><strong>I'm leaving London, Danvers.

**DANVERS  
><strong>But why?

**SAVAGE  
><strong>Isn't it obvious... with a  
>homicidal maniac wiping out half<br>our colleagues?

**EMMA  
><strong>Where will you go, Lord Savage?

**SAVAGE  
><strong>I'm telling that to no-one!  
><em>(as Emma nods, and both<br>__she and Sir Danvers stare  
><em>_at him)  
><em>I don't know what you've heard,  
>Danvers, but I did everything I<br>could to save the others...

**DANVERS  
><strong>Of course.

**SAVAGE  
><strong>Tried like hell...

**DANVERS  
><strong>My dear Herbert, I don't doubt that  
>you conducted yourself in a manner<br>befitting an...

**SAVAGE  
><strong>Oh, I did, Danvers! But I couldn't  
>save them!<p>

**DANVERS  
><strong>Those are decisions for God to  
>make. Both you and God know that<br>you tried.  
><em>(shaking his hand again)<br>_Well, Herbert, do have a safe  
>journey.<p>

Lord Savage seems reluctant to conclude the handshake, but  
>then shakes Emma's hand too and the Carews depart.<p>

There is another shrill railway whistle and a huge emission  
>of steam from an unseen force. In this steam, virtually all<br>others on the departure platform vanish, except Lord Savage,  
>who peers nervously into the steam and fog all around him.<p>

**HYDE  
><strong>_(stepping out of a billow of steam)  
><em>Bad news from God, Herbert!

Lord Savage cries out, but it is the cry of a feeble old man,  
>lost in the bustle of the station. And it is cut short, as<br>Hyde grabs him and swiftly snaps his neck with one arm, then  
>tosses Savage's frail body onto the rails below.<p>

Hyde grins down at the body for an instant. Then he glances

up into the ether, as the familiar sound, "angels weeping,"  
>winds upward briefly.<p>

Hyde disappears back into the steam, fog and shadows.

EXT. LONDON STREET - NIGHT

Lord Savage's FUNERAL PROCESSION is in progress. The brightly  
>lit city of London silhouettes the entire funeral procession<br>led by a PRIEST, swinging an incense burner. He is followed  
>by 4 MEN carrying a casket.<p>

NEWSBOYS continue their brisk trade on both sides of the street.

**CROWD  
><strong>_(variously)  
><em>CATCHIN' SUCH A MADMAN  
>COULD BE HARD!<br>HE'LL KILL AT WILL!  
>'CAUSE THEY'RE ALL SO THICK<br>AT SCOTLAND YARD!  
>NO BRAINS, NO SKILL!<p>

**ALL  
><strong>HE'LL KILL US IF WE LET HIM!  
>THEY BETTER GO AN' GET HIM!<p>

**CROWD  
><strong>_(variously)  
><em>I KNOW A WAY TO NET HIM!

HOW?

**ALL  
><strong>MURDER!

NO MATTER WHO WE'RE BLAMIN'  
>TILL THEY PULL WOTSISNAME IN,<br>THERE'S GONNA BE,  
>A FLAMIN' ROW!<p>

THUNDER and LIGHTNING strike as the crowd reacts. UPPER CLASS  
>open their umbrellas, some LOWER CLASS use their newspapers,<br>shawls, etc. They all begin to scramble about from the rain.  
>THUNDER and LIGHTNING continue to build to a peak as the<br>crowd continues to panic.

**ALL (CONT'D)  
><strong>MURDER, MURDER!  
>ON OUR DOORSTEP!<br>MURDER, MURDER!  
>SO WATCH YOUR STEP!<br>MURDER, MURDER!  
>TAKE ONE MORE STEP<br>YOU'LL BE MURDERED IN THE NIGHT!

MURDER, MURDER!  
>ONCE THERE'S ONE DONE,<br>MURDER, MURDER!  
>CAN'T BE UNDONE!<br>MURDER, MURDER!  
>LIVES IN LONDON<br>BLOODY MURDER  
>IN THE NIGHT<p>

On the final chord of music, a deafening clap of THUNDER and  
>one brilliant flash of LIGHT hits as the panicky crowd<br>disperses into darkness.


	10. Chapter 7

INT. DR. JEKYLL'S LABORATORY - NIGHT

Silence. Darkness, within which glass and metal are gleaming  
>faintly; then a cloud passes from in front of the moon, and<br>its bluish radiance, through a skylight, reveals the  
>laboratory in Jekyll's Harley Street residence. It has been<br>much used, and abused, since we last saw it. All the  
>scientific paraphernalia is in a state of desperate disorder,<br>and the doors to most of the glass presses stand open.

At first, the laboratory appears uninhabited. Then Emma Carew  
>lights a small lamp on the desk, which is still relatively<br>unencumbered. She stands at the desk and reads an entry from  
>Jekyll's journal.<p>

**EMMA  
><strong>"I am dangerous, more dangerous  
>than any wild animal stalking its<br>prey..."

The laboratory door opens, and Emma turns, trembling, to the  
>sound. A DARK FIGURE enters the laboratory, and sees Emma.<p>

**JEKYLL  
><strong>_(surprised, sharp and  
><em>_angry)  
><em>What do you want here?

**EMMA  
><strong>_(lifting the lamp, to see  
><em>_who he is)  
><em>Henry?  
><em>(relieved, but also<br>__embarrassed about prying)  
><em>Oh, you scared me - for a moment I  
>thought - well, you didn't sound<br>like you!

**JEKYLL  
><strong>_(stepping into a shadow,  
><em>_his voice husky, ill-  
><em>_tempered)  
><em>How long have you been here? How  
>long!<p>

**EMMA  
><strong>Just these few minutes... Poole let  
>me into the office. Your laboratory<br>door was left unlocked.  
><em>(a beat)<br>_Henry, I have been desperate for  
>some word -<p>

**JEKYLL  
><strong>_(furious)  
><em>And you thought you'd find it  
>spying on my journal?<p>

He lurches to the desk, slams the journal shut.

**JEKYLL (CONT'D)  
><strong>What did you see?

**EMMA  
><strong>I can't remember what I saw!

**JEKYLL  
><strong>_(yelling)  
><em>What - did - you - see?

**EMMA  
><strong>_(deeply upset)  
><em>Henry! Look at me! Are we unable to  
>have a civil conversation? I<br>understand that your work is  
>unprecedented – and painful. I see<br>what it is doing to you, to us, and  
>yet I know that you must move<br>forward. You believe in this so  
>strongly.<p>

Now he looks at her, confused, remorseful, returning to  
>himself. He is shabbily dressed, in a grey-brown suit and<br>cape.

**JEKYLL  
><strong>_(slumps to sit at his  
><em>_desk, almost a swoon)  
><em>Emma, these experiments are taking  
>me to places I don't understand. I<br>can't explain it to myself, let  
>alone to you.<p>

**EMMA  
><strong>There's no need to explain, my  
>dearest. You never promised the<br>journey would be easy or pleasant –  
>only that we would take it<br>together.

SONG: "ONCE UPON A DREAM"

**EMMA (CONT'D)  
><strong>WHEN THIS ALL BEGAN,  
>WE KNEW THERE'D BE A PRICE<p>

ONCE UPON A DREAM  
>WE WERE LOST IN LOVE'S EMBRACE<br>THERE WE FOUND A PERFECT PLACE,  
>ONCE UPON A DREAM<p>

ONCE THERE WAS A TIME  
>LIKE NO OTHER TIME BEFORE<br>HOPE WAS STILL AN OPEN DOOR,  
>ONCE UPON A DREAM<p>

She stands, watching him for a long moment. He cannot bear to  
>face her. She starts to leave.<p>

**EMMA (CONT'D)  
><strong>AND I WAS UNAFRAID  
>THE DREAM WAS SO EXCITING<br>BUT NOW I SEE IT FADE,  
>AND I AM HERE ALONE<p>

ONCE UPON A DREAM  
>YOU WERE HEAVEN-SENT TO ME<br>WAS IT NEVER MEANT TO BE?  
>ARE YOU JUST A DREAM?<p>

COULD WE BEGIN AGAIN?  
>ONCE UPON A DREAM<p>

**JEKYLL  
><strong>_(cries out, without looking up)  
><em>Emma, don't abandon me now. I do  
>love you.<p>

She goes out, closing the laboratory door behind herself.

Only now does Jekyll look up, in the direction of her exit. A  
>sob shakes his body, but he fights it off.<p>

He stands and looks at himself in the enormous gilt-framed  
>mirror. Then he forces himself to turn away, moves back to<br>the desk, takes up a pen, and writes in his journal.

**JEKYLL (V.O.) (CONT'D)  
><strong>I am slowly losing control of  
>myself. I dare not continue taking<br>these nightly formulas. This Edward  
>Hyde is a part of me, and yet he<br>disappears within, like a stain of  
>breath upon a mirror. He has found<br>the perfect hiding place.

EXT. HARLEY STREET - DUSK

Lucy is at Jekyll's doorstep with Poole.

**POOLE  
><strong>I'm sorry, miss. Perhaps next week.

**LUCY  
><strong>I understand.

Embarrassed by this refusal, Lucy nods and walks away  
>discouraged.<p>

SONG: "NO ONE KNOWS WHO I AM"

**LUCY (CONT'D)  
><strong>LOOK AT ME AND TELL ME WHO I AM –  
>WHY I AM – WHAT I AM<br>CALL ME A FOOL AND IT'S TRUE I AM  
>I DON'T KNOW WHO I AM<p>

IT'S SUCH A SHAME  
>I'M SUCH A SHAM<br>NO ONE KNOWS WHO I AM

ONCE THERE WERE SWEET POSSIBILITIES  
>I COULD SEE JUST FOR ME<br>NOW ALL MY DREAMS ARE JUST MEMORIES  
>FATED NEVER TO BE<p>

TIME'S NOT AFRAID,  
>HURRYING BY<br>I WONDER... WHO AM I?

AM I THE FACE OF THE FUTURE?  
>AM I THE FACE OF THE PAST<br>AM I THE ONE WHO MUST FINISH LAST?

LOOK AT ME AND TELL ME WHO I AM –  
>WHY I AM – WHAT I AM<br>WILL I SURVIVE?  
>WHO WILL GIVE A DAMN<br>IF I DON'T KNOW WHO I AM?

Emma is leaving the house from the previous scene.

**EMMA  
><strong>Thank you, Poole.

**POOLE  
><strong>Good evening, Miss Carew.

Lucy hears Emma's voice and looks around, as Emma sees her.

**LUCY  
><strong>NOBODY KNOWS,  
>NOT EVEN YOU...<br>NO ONE KNOWS WHO I AM

Lucy hurries away. Emma is now suspicious by this second  
>encounter. At the same moment, Utterson is arriving.<p>

**UTTERSON  
><strong>Emma? Is everything alright?

**EMMA  
><strong>I - don't - know...

**UTTERSON  
><strong>Is it Henry?

**EMMA  
><strong>John, I'm worried.

**UTTERSON  
><strong>I am too, Emma –  
><em>(tries to lighten the<br>__mood)  
><em>- but you know Henry.

**EMMA  
><strong>John, I said I'm worried.

**UTTERSON  
><strong>I'll see what I can do.

Utterson goes to enter the house.

INT. LUCY'S BEDROOM

Lucy's bedroom, above "The Red Rat," which attempts hominess,  
>without escaping squalor. A single oil lamp burns on a table<br>by the rumpled bed.

The room is empty for a moment, then footsteps are heard,  
>ascending. Lucy comes in through the narrow door, which is<br>already ajar, and hangs up her shawl, having just arrived  
>from Jekyll's house.<p>

**HYDE (O.S.)  
><strong>Dearest Lucy...

Lucy spins around, startled. Hyde is lying on her bed.

**HYDE (CONT'D)  
><strong>You weren't expecting me?

**LUCY  
><strong>No... I – for a moment I thought it  
>was someone else.<p>

**HYDE  
><strong>_(laughs to himself)  
><em>For a moment it almost was. You're  
>late for our nightly rendezvous, my<br>dear.

He gets a drink from her dresser.

**LUCY  
><strong>I'm sorry – it won't 'appen again.

**HYDE  
><strong>Isn't there something you'd like to  
>tell me?<p>

**LUCY  
><strong>Whad'ya mean?

**HYDE  
><strong>Wouldn't you like to tell me about  
>your Harley Street Doctor Jekyll?<p>

**LUCY  
><strong>Doctor Jekyll? ...Ya' know 'im?

**HYDE  
><strong>Oh yes, we are very old friends, he  
>and I. You're such a fool Lucy! He<br>won't see you again. He doesn't  
>even know who you are. He's not the<br>man you think he is. He shares all  
>your little secrets!<p>

**LUCY  
><strong>Doctor Jekyll wouldn't...

**HYDE  
><strong>Really?  
><em>(mockingly)<br>_"I never had someone like you be  
>nice to me before. You make me feel<br>like a lady."

Lucy is deeply hurt. She is frightened of him.

**HYDE (CONT'D)  
><strong>Why do you go there every day?

**LUCY  
><strong>How do you know I...?

**HYDE  
><strong>Lucy – I know where you are every  
>moment I'm gone. I know what you<br>think... I know what you feel.  
>Can't you see? We are one, you and<br>I... love and hate share the same

appetite, my dear!

**LUCY  
><strong>It's a dangerous game...

Hyde pulls her tightly against him.

SONG: "IT'S A DANGEROUS GAME"

**LUCY (CONT'D)  
><strong>I FEEL YOUR FINGERS  
>COLD ON MY SHOULDER –<br>YOUR CHILLING TOUCH  
>AS IT RUNS DOWN MY SPINE<br>WATCHING YOUR EYES  
>AS THEY INVADE MY SOUL,<br>FORBIDDEN PLEASURES  
>I'M AFRAID TO MAKE MINE...<p>

AT THE TOUCH OF YOUR HAND,  
>AT THE SOUND OF YOUR VOICE,<br>AT THE MOMENT YOUR EYES MEET MINE,  
>I AM OUT OF MY MIND,<br>I AM OUT OF CONTROL,  
>FULL OF FEELINGS I CAN'T DEFINE<p>

**HYDE  
><strong>IT'S A SIN WITH NO NAME...

**LUCY  
><strong>LIKE A HAND IN A FLAME

**HYDE  
><strong>AND OUR SENSES PROCLAIM...

**BOTH  
><strong>IT'S A DANGEROUS GAME!

**HYDE  
><strong>A DARKER DREAM THAT HAS NO ENDING,  
>SOMETHING UNREAL<br>THAT YOU WANT TO BE TRUE

**LUCY  
><strong>A STRANGE ROMANCE  
>OUT OF A MYSTERY TALE<p>

**HYDE  
><strong>THE FRIGHTENED PRINCESS  
>DOESN'T KNOW WHAT TO DO!<p>

DOES SHE JUST RUN AWAY?  
>DOES SHE RISK IT AND STAY?<br>EITHER WAY, THERE'S NO WAY TO WIN!

**LUCY  
><strong>ALL I KNOW IS I'M LOST  
>AND I'M COUNTING THE COST<br>MY EMOTIONS ARE IN A SPIN

I DON'T KNOW WHO'S TO BLAME...

**HYDE  
><strong>IT'S A CRIME AND A SHAME...

**LUCY  
><strong>BUT IT'S TRUE ALL THE SAME...

**BOTH  
><strong>IT'S A DANGEROUS GAME!

NO ONE SPEAKS,  
>NOT ONE WORD<br>ALL THE WORDS ARE IN OUR EYES

**LUCY  
><strong>SILENCE SPEAKS...

**HYDE  
><strong>_(he echoes her)  
><em>SILENCE SPEAKS...

**LUCY  
><strong>LOUD AND CLEAR...

**HYDE  
><strong>_(he echoes her)  
><em>LOUD AND CLEAR

**LUCY  
><strong>ALL THE WORDS...

**BOTH  
><strong>WE WANT TO HEAR!

AT THE TOUCH OF YOUR HAND,  
>AT THE SOUND OF YOUR VOICE,<br>AT THE MOMENT YOUR EYES MEET MINE,

I AM OUT OF MY MIND,  
>I AM OUT OF CONTROL,<br>FULL OF FEELINGS I CAN'T DEFINE

**LUCY  
><strong>IT'S A SIN WITH NO NAME

**HYDE  
><strong>NO REMORSE AND NO SHAME

**BOTH  
><strong>FIRE, FURY, AND FLAME,  
>'CAUSE THE DEVIL'S TO BLAME<br>AND THE ANGELS PROCLAIM...  
>IT'S A DANGEROUS GAME!<p>

He places her on the bed and lies on top of her as we

FADE TO:

INT. DR. JEKYLL'S CONSULTING ROOM

Poole and Emma are in the middle of a discussion.

**EMMA  
><strong>Of course, Poole. I know you are  
>completely devoted to Doctor<br>Jekyll.

**POOLE  
><strong>Well, I... I do not wish to judge  
>him uncharitably.<p>

**EMMA  
><strong>But Poole, please, under these  
>extraordinary circumstances...<p>

**POOLE  
><strong>Yes, miss. As you know, for weeks  
>now, the Doctor has been locked in<br>that laboratory. He has instructed  
>even <span>me<span> not to disturb him for any  
>reason.<p>

**EMMA  
><strong>Have you not seen him at all during  
>this time?<p>

**POOLE  
><strong>No, miss. I have been told to leave  
>all his meals outside the door and<br>go away!

Emma wonders if this has to do with the lower class woman she  
>has seen at Jekyll's doorstep... so she broaches the<br>subject...

**EMMA  
><strong>Poole, tell me... has he been alone  
>in there all this time?<p>

**POOLE  
><strong>Alone, miss...?

**EMMA  
><strong>Come Poole, you'd hardly be  
>disloyal in telling me.<p>

**POOLE  
><strong>Yes, miss. Each night I have been  
>leaving him his tray outside the<br>door – and from inside the  
>laboratory, I have heard these...<br>noises. And a voice I do not  
>recognize.<p>

**EMMA  
><strong>Someone has been in there with him?

**POOLE  
><strong>_(nods)  
><em>Last night, I heard whoever it was  
>– crying – weeping, like an<br>animal... the strangest sound you  
>ever heard, miss.<p>

**EMMA  
><strong>Thank you, Poole.  
><em>(upset)<br>_...thank you.


	11. Chapter 8

INT. LABORATORY

Jekyll, frantic and on edge, is writing in his journal.

**JEKYLL (V.O.)  
><strong>October 7th, after midnight. The  
>experiment is out of...<br>_(then, crossing it out)  
><em>I am out of control. I so delight  
>in the pleasures of Hyde that a<br>battle of wills is constantly  
>raging inside me... I cannot bear<br>it much more. The transformations  
>are starting to occur of their own<br>accord. I am convinced that the  
>only way out is to make an<br>antidote. I must destroy this  
>monster inside me. The beast has<br>taken a heavy toll – not only on  
>me, who can yet be saved, but on<br>others who cannot.

A knock. Insistent. Jekyll quickly pulls a revolver from its  
>hiding place and turns to the door.<p>

**UTTERSON (O.S.)  
><strong>Henry! Henry, it's John!

The laboratory door is flung open again. Utterson has stepped  
>into the laboratory, looks around at the condition which it<br>and Jekyll are in.

**UTTERSON (CONT'D)  
><strong>Henry, what in the hell is going  
>on?<p>

**JEKYLL  
><strong>John, do you trust me?

**UTTERSON  
><strong>Why are you keeping everyone in the  
>dark like this?<p>

**JEKYLL  
><strong>Do you trust me?

**UTTERSON  
><strong>Of course I trust you, Henry!

**JEKYLL  
><strong>Then there is something I must ask  
>you to do for me.<p>

Jekyll goes to his desk and writes out a prescription for  
>Utterson to take to Bisset.<p>

**UTTERSON  
><strong>You must give me some answers  
>first.<p>

**JEKYLL  
><strong>John, if I told you, you would not  
>believe me. These experiments have<br>taken control of me – like an  
>addiction. That's all I can say.<br>Now please – no further questions.  
><em>(a pause)<br>_John, listen... Bisset, the  
>apothecary, can acquire this<br>quantity of rare drugs for me.  
><em>(hands him the prescription)<br>_When they arrive, I need you to  
>collect them and bring them here.<p>

**UTTERSON  
><strong>But why are you...?

**JEKYLL  
><strong>John, please, you've got to  
>understand... there is danger for<br>me out there. I can't give you  
>explanations. I just... I cannot<br>leave this place. You must trust me  
>– a few more days.<p>

**UTTERSON  
><strong>_(seeing his desperation;  
><em>_flatly)  
><em>I don't like this, Henry. Not one  
>bit.<p>

Utterson starts to leave, but stops when he sees the gun. He  
>picks it up.<p>

**UTTERSON (CONT'D)  
><strong>Your father's revolver? And loaded?  
>...Henry, why?<p>

**JEKYLL  
><strong>_(thinking quickly)  
><em>To protect myself from the killer  
>out there. I suggest you do the<br>same.

**UTTERSON  
><strong>Of course, but do be careful,  
>Henry!<p>

Utterson goes out of the laboratory, weary and uneasy,  
>leaving the door open behind himself.<p>

Jekyll watches his friend go, then moves to the door, looks  
>out.<p>

**JEKYLL  
><strong>_(alone, speaks softly in  
><em>_the direction of  
><em>_Utterson's exit)  
><em>Yes, my friend, my life is in the  
>balance... all our lives. Hyde's<br>life too.

He closes the laboratory door, then moves back to the  
>enormous mirror, and looks within it.<p>

SONG: "REFLECTIONS" (Jekyll's Soliloquy)

**JEKYLL (CONT'D)  
><strong>MY TWO NATURES  
>HAVE MEMORY IN COMMON<br>I AM AWARE  
>THAT I'M SLOWLY LOSING HOLD<br>OF MY ORIGINAL AND BETTER SELF,  
>AND BECOMING ABSORBED<br>INTO MY SECOND AND WORSE SELF

HYDE,  
>ALONE IN THE RANKS OF MANKIND,<br>IS PURE EVIL  
><em>(spoken)<br>_As Jekyll, I can share in the  
>pleasures and wickedness of Hyde. I<br>have more than a father's interest  
>in him, and he has more than a<br>son's indifference towards me.  
><em>(sung)<br>_AS HYDE,  
>I CARE ONLY FOR MYSELF<br>AND NOTHING FOR JEKYLL!

AS JEKYLL,  
>I KNOW HOW HYDE FEARS MY POWER<br>TO CUT HIM OFF –  
>BY SUICIDE!<p>

AND YET I FIND IT IN MY HEART  
>TO PITY HIM<br>SO WONDERFUL IS HIS LOVE FOR LIFE!  
>SO WONDERFUL IS HIS LOVE FOR LIFE!<p>

He remains, staring fixedly into the enormous mirror. CAMERA  
>PUSHES IN on the mirror as his reflection begins to change.<p>

DISSOLVE TO:

INT. THE CAREW HOUSE - DAY

A more comfortable, less formal room in the Carew residence,  
>where Emma sits, staring out a high and wide window at the<br>constant rainfall. Emma, now convinced that Jekyll must be  
>having an affair, is sad.<p>

SONG: "IN HIS EYES"

**EMMA  
><strong>I SIT AND WATCH THE RAIN...  
>AND SEE MY TEARS RUN<br>DOWN THE WINDOWPANE

EXT. THE EAST END - SAME MOMENT

A dripping, reeking bridge in the East End, near "The Red  
>Rat," where Lucy has sought shelter from the downpour. She is<br>disillusioned by what Hyde has just told her about Jekyll and  
>can't believe she could have been so wrong about him, and his<br>interest in her. Occasionally, beyond the bridge, we see the  
>frail masts and tattered sails of river craft, dipping past.<p>

**LUCY  
><strong>I SIT AND WATCH THE SKY...  
>AND I CAN HEAR IT BREATHE A SIGH<p>

I THINK OF HIM...

INT. THE CAREW HOUSE

Emma continues staring out the rain-streaked window.

**EMMA  
><strong>HOW WE WERE...

EXT. THE EAST END

**LUCY  
><strong>AND WHEN I THINK OF HIM...

INT. THE CAREW HOUSE

**EMMA  
><strong>THEN I REMEMBER...

EXT. THE EAST END

**LUCY  
><strong>_(Emma's voice joining and  
><em>_blending with hers from  
><em>_off-screen)  
><em>REMEMBER...

INT. THE CAREW HOUSE

**EMMA  
><strong>IN HIS EYES, I CAN SEE  
>WHERE MY HEART LONGS TO BE!<p>

EXT. THE EAST END

**LUCY  
><strong>IN HIS EYES I SEE A GENTLE GLOW...  
>AND THAT'S WHERE I'LL BE SAFE<br>I KNOW

INT. THE CAREW HOUSE

**EMMA  
><strong>SAFE IN HIS ARMS,  
>CLOSE TO HIS HEART...<p>

EXT. THE EAST END

**LUCY  
><strong>BUT I DON'T KNOW  
>QUITE WHERE TO START<p>

INT. THE CAREW HOUSE

**EMMA  
><strong>BY LOOKING IN HIS EYES,  
>WILL I SEE BEYOND TOMORROW?<p>

EXT. THE EAST END

**LUCY  
><strong>BY LOOKING IN HIS EYES,  
>WILL I SEE BEYOND THE SORROW<br>THAT I FEEL?

INT. THE CAREW HOUSE

**EMMA  
><strong>WILL HIS EYES REVEAL TO ME  
>PROMISES OR LIES?<p>

EXT. THE EAST END

**LUCY  
><strong>BUT HE CAN'T CONCEAL FROM ME  
>THE LOVE IN HIS EYES!<p>

INT. THE CAREW HOUSE

**EMMA  
><strong>I KNOW THEIR EVERY LOOK!  
>HIS EYES!<p>

EXT. THE EAST END

**LUCY  
><strong>THEY'RE LIKE AN OPEN BOOK!  
>HIS EYES!<p>

INT. THE CAREW HOUSE

**EMMA  
><strong>BUT MOST OF ALL...  
><em>(Lucy's voice joining and<br>__blending with hers from  
><em>_off-screen)  
><em>THE LOOK THAT HYPNOTIZED ME!  
><em>(solo again)<br>_IF I'M WISE, I WILL WALK AWAY  
>AND GLADLY!<p>

EXT. THE EAST END

**LUCY  
><strong>BUT SADLY, I'M NOT WISE!  
>IT'S HARD TO TALK AWAY THE MEMORIES<br>THAT YOU PRIZE

INT. THE CAREW HOUSE

**EMMA  
><strong>_(comes to an empowering  
><em>_realization of truth)  
><em>LOVE IS WORTH FORGIVING FOR

EXT. THE EAST END

Lucy determines the reason Jekyll won't see her anymore is  
>because of her station in life. But, she realizes she felt<br>loved when he looked at her, and for the first time, she's  
><span>actually loved someone!

**LUCY  
><strong>NOW I REALIZE...

INT. THE CAREW HOUSE

**EMMA  
><strong>_(Lucy's voice joining and  
><em>_blending with hers from  
><em>_off-screen)  
><em>EVERYTHING WORTH LIVING FOR  
>IS THERE IN HIS EYES!<br>_(solo again)  
><em>LOVE IS WORTH FORGIVING FOR  
>NOW I REALIZE...<p>

EXT. A BRIDGE IN LONDON'S EAST END

**LUCY  
><strong>NOW I REALIZE...  
><em>(Emma's voice joining and<br>__blending with hers from  
><em>_off-screen)  
><em>EVERYTHING WORTH LIVING FOR  
>IS THERE IN HIS EYES!<p>

The mournful horn of a river barge makes Lucy shudder. She  
>wraps her ragged cloak around her shoulders more tightly, and<br>pulls her cloth cap down more snugly. Grey light, reflecting  
>off the nearby river, paints eerie patterns on the underside<br>of the bridge.

INT. DR. JEKYLL'S LABORATORY - NIGHT

Silence. Grey moonlight, smudged by fog, creeps in through  
>the skylight. A pungent chemical smell hangs heavily in the<br>air.

In the darkness, we hear:

**JEKYLL (V.O.)  
><strong>Day three since destroying all  
>formulas. Hyde is subdued, and yet<br>deep within, I feel his desperation  
>to emerge, and it is taking a heavy<br>toll on me. To rid him completely,  
>I need an antidote. I must have<br>those chemicals soon! Without them,  
>I know well that I risk death.<p>

The camera finds Jekyll, who can barely be seen in the  
>shadows, slumped in the armchair at his desk, his head<br>resting on the journal. He is exhausted and wracked with the  
>deep impression of great suffering. His hair is matted; his<br>clothing is disheveled and stained. He is obviously going  
>through withdrawals.<p>

There is a tentative knock at the laboratory door. Jekyll  
>does not move.<p>

A louder knock. No response.

The door is opened, and Utterson stands, silhouetted in the  
>light from the next room. He carries the chemical case.<p>

**UTTERSON  
><strong>Henry? ...Henry...

He moves a bit further into the room, turns up a gaslight;  
>then another.<p>

The laboratory is revealed, in a still more deplorable state,  
>shattered and scorched beakers, test-tubes and tubing, the<br>debris of abortive experiments everywhere; the glass panels  
>in several of the presses are also shattered; tables and<br>other furnishings have been overturned, as though in a  
>catastrophic struggle; acrid smoke and fumes continue to rise<br>through the grey air from recent disappointments.

**UTTERSON (CONT'D)  
><strong>Henry...  
><em>(turns and sees Jekyll,<br>__stares in horror and  
><em>_disbelief at the sight)  
><em>...oh, my God! Henry! You're destroying yourself.

**JEKYLL  
><strong>Perhaps.  
><em>(with deep shame)<br>_But only to save my father...

**UTTERSON  
><strong>_(pulling himself together)  
><em>You must save yourself... before these chemicals kill you.

**JEKYLL  
><strong>_(sees the chemical case as  
><em>_Utterson kneels beside  
><em>_him)  
><em>The chemicals! Thank God! I can yet  
>be saved!<br>_(rises and stumbles)  
><em>There's not much time. John,  
>please, a most urgent errand. Take<br>this and deliver it for me.

He searches inside the desk for a moment, and takes out  
>another sealed envelope; hands it to Utterson.<p>

**UTTERSON  
><strong>_(perusing the name and  
><em>_address on the envelope)  
><em>"Miss Lucy Harris, The Red Rat,  
>Camden Town." Henry, is this that<br>place...?

**JEKYLL  
><strong>_(not wanting to face  
><em>_Utterson on this issue)  
><em>It's a debt I owe. A private  
>affair. Tell her she must leave<br>London.

Utterson, remembering the type of establishment, fears Jekyll  
>has become involved with one of the women there – and worse,<br>that the debt he "owes" might be because he got her pregnant,  
>thus asking her to leave to minimize the shame.<p>

**UTTERSON  
><strong>Henry! What is it you're saying?

**JEKYLL  
><strong>John, in the name of friendship...  
><span>do not ask<span>! Please, go now! With  
>these chemicals you have brought me<br>– I promise you I can find an  
>antidote that will destroy Hyde<br>forever.

**UTTERSON  
><strong>Who?

**JEKYLL  
><strong>_(covers quickly as he  
><em>_grabs a large key,  
><em>_realizing his error)  
><em>I can save myself – regain control.  
>Just go now, I beg of you...<br>_(handing him the key)_

**UTTERSON  
><strong>What's this?

**JEKYLL  
><strong>The key, for the door. I can trust  
>no one else with this – least of<br>all myself. I dare not leave this  
>place... not before the next step<br>is accomplished!

**UTTERSON  
><strong>God help you, Henry.

Utterson hurries out, closing the laboratory door soundly  
>behind himself.<p>

Jekyll stands, trembling as he walks; he passes before the  
>enormous mirror, glances into it only for a moment, then goes<br>to a laboratory table, which he sweeps clear of much of its  
>debris.<p>

He unwraps the drugs from the parcel, begins to measure and  
>combine them, as he sings:<p>

SONG: "THE WAY BACK"

**JEKYLL  
><strong>COULD IT BE?  
>HAVE I REALLY LOST MY WAY?<br>HAVE I LOST MY MIND?  
>WILL I LOSE THE DAY?<br>AM I A GOOD MAN?  
>AM I A MADMAN?<br>IT'S SUCH A FINE LINE  
>BETWEEN A GOOD MAN AND A BAD...<p>

He begins mixing the chemicals.

**JEKYLL (CONT'D)  
><strong>SOMEHOW I HAVE TO GET BACK  
>TO THE PLACE<br>WHERE MY JOURNEY STARTED  
>FIND THE COURSE I CHARTED<br>WHERE I FIRST DEPARTED!

SOMEHOW I HAVE TO HANG ON  
>TO THE VISION<br>THAT FIRST INSPIRED ME  
>TO THE HOPE THAT FIRED ME<br>WHEN THE WORLD ADMIRED ME!

I'LL FIND MY WAY BACK  
>TO THE HIGHER GROUND<br>AND SEE THE VIEW I KNEW BEFORE!  
>I'LL SEARCH THE WORLD<br>UNTIL THE ANSWER'S FOUND,  
>TURN MY DESPAIR AROUND<br>FOREVER MORE!

SOMEHOW I'VE GOT TO REBUILD  
>ALL THE DREAMS<br>THAT THE WINDS HAVE SCATTERED  
>FROM WHAT FATE HAS SHATTERED<br>I'LL RETRIEVE WHAT MATTERED!

SOMEHOW I'VE GOT TO GO ON  
>TILL THE EVIL HAS BEEN DEFEATED,<br>TILL MY WORK IS COMPLETED,  
>I WILL NOT BE CHEATED!<p>

GOD, YOU MUST HELP ME CARRY ON!  
>WHEN IT SEEMS ALL HOPE HAS GONE,<br>I HAVE GOT TO CARRY ON!

(For continuity later on, it is important that by the end of  
>this song Jekyll has some form of antidote mixtures racked on<br>the storage table.)

At the tail end of his last held note, another transformation  
>begins to occur spontaneously, inside and outside him,<br>shaking him with spasms. For the first time, we see for  
>ourselves that Hyde has now become powerful enough to emerge<br>on his own will!

**JEKYLL (CONT'D)  
><strong>_(cries out in terror)  
><em>It can't be... No! This can't  
>be!...<p>

But the cry turns into Hyde's malicious roar of sadistic  
>pleasure, as he moves toward the enormous mirror again,<br>triumphantly.

A flash of brilliant sheet lightning, through the skylight,  
>followed by a low roll of thunder across the width of the<br>sky.


	12. Chapter 9

INT. DOOR TO LUCY'S BEDROOM

A narrow hallway, with doors leading to several rooms, above  
>"The Red Rat." Lucy is wearing her shawl and a skirt that she<br>has hastily thrown over her corset. Utterson has given her  
>Jekyll's note, which she has been reading.<p>

**LUCY  
><strong>Leave London?

**UTTERSON  
><strong>As soon as possible.

**LUCY  
><strong>_(looking at the money that  
><em>_came with the note)  
><em>'e don't owe me nothin'.

**UTTERSON  
><strong>I beseech you to do as he asks. I'm  
>sure it is for the best. Good luck<br>to you, Miss Harris. May you find a  
>happier life elsewhere. Take care<br>of yourself.

Lucy watches him leave. She puts the money in her corset and  
>enters her bedroom.<p>

INT. LUCY'S BEDROOM

Lucy goes to her dresser lamp and turns the lamp up and hangs  
>up her shawl, as Stride, sitting on her bed, is getting<br>dressed.

**STRIDE  
><strong>I found you less than enthusiastic  
>tonight, Lucy.<p>

**LUCY  
><strong>_(hides her note behind her  
><em>_back)  
><em>Well, I do my best sir!

**STRIDE  
><strong>No, Lucy, your best would have  
>resulted in a satisfied customer.<p>

He reaches around her and takes the note.

**LUCY  
><strong>Don't, please, don't.

He opens the note and sees...

**STRIDE  
><strong>From Doctor Jekyll?!  
><em>(reads)<br>_"My dear Miss Lucy. I regret more  
>than I can ever express that my<br>private misfortune has prevented me  
>from seeing you again. I have found<br>in you a tender and loving light  
>during these past dark days. I hope<br>you will accept the enclosed as a  
>small repayment for the lesson you<br>have taught me. Leave London, I beg  
>you, and begin again, secure in the<br>knowledge that I shall never forget  
>you. Henry Jekyll."<br>_(a thin smile)  
><em>Well, well – it looks like your  
>Harley Street friend is living the<br>high and mighty one day and bedding  
>the likes of you the next!<p>

He puts on his coat and puts the note in the pocket.

**LUCY  
><strong>What are ya doin' with that?

**STRIDE  
><strong>That is none of your concern!

He gets his hat and starts to leave.

**LUCY  
><strong>'Enry Jekyll is the only one 'oo  
>don't treat me like a whore!<p>

Her comment reminds him – he pulls out some money and thrusts  
>it into her hand.<p>

**STRIDE  
><strong>Well, at least you know what you  
>are!<p>

He hurries out, and can be heard descending the same hollow  
>steps. Lucy sits on her bed, staring at the money. She throws<br>it down in disgust.

A loud clap of thunder startles her. She blows out the oil  
>lamp, goes to a window and pulls back the ragged drape. After<br>a moment, a lightning flash, followed almost immediately by a  
>more distant rumble of thunder. She stands at the window,<br>watching the storm gather.

SONG: "A NEW LIFE"

**LUCY  
><strong>A NEW LIFE –  
>WHAT I WOULDN'T GIVE TO HAVE<br>A NEW LIFE!  
>ONE THING I HAVE LEARNED<br>AS I GO THROUGH LIFE –  
>NOTHING IS FOR FREE ALONG THE WAY<p>

A NEW START –  
>THAT'S THE THING I NEED TO GIVE ME A NEW HEART –<br>HALF THE CHANCE IN LIFE TO FIND  
>A NEW PART<br>JUST A SIMPLE ROLE THAT I CAN PLAY

She pulls Jekyll's money out of her corset and looks at it.

**LUCY (CONT'D)  
><strong>A NEW HOPE –  
>SOMETHING TO CONVINCE ME TO<br>RENEW HOPE  
>A NEW DAY –<br>BRIGHT ENOUGH TO HELP ME  
>FIND MY WAY<p>

A NEW CHANCE –  
>ONE THAT MAYBE HAS<br>A TOUCH OF ROMANCE  
>WHERE CAN IT BE?<br>A CHANCE FOR ME?

A NEW DREAM –  
>I HAVE ONE I KNOW THAT<br>VERY FEW DREAM  
>I WOULD LIKE TO SEE THAT<br>OVERDUE DREAM  
>EVEN THOUGH IT NEVER MAY COME TRUE<p>

She pulls a suitcase out from under her bed and starts to  
>pack.<p>

**LUCY (CONT'D)  
><strong>A NEW LOVE –  
>THOUGH I KNOW THERE'S NO SUCH THING AS TRUE LOVE<br>EVEN SO, ALTHOUGH I  
>NEVER KNEW LOVE,<br>STILL I FEEL  
>THAT ONE DREAM IS MY DUE!<p>

A NEW WORLD –  
>THIS ONE THING<br>I WANT TO ASK OF YOU, WORLD  
>ONCE BEFORE IT'S TIME TO<br>SAY ADIEU, WORLD  
>ONE SWEET CHANCE<br>TO PROVE THE CYNICS WRONG!

A NEW LIFE –  
>MORE AND MORE I'M SURE<br>AS I GO THROUGH LIFE,  
>JUST TO PLAY THE GAME<br>AND TO PURSUE LIFE  
>JUST TO SHARE ITS PLEASURES<br>AND BELONG...  
>THAT'S WHAT I'VE BEEN HERE FOR<br>ALL ALONG!  
>EACH DAY'S A BRAND NEW LIFE!<p>

She puts on her shawl and picks up her suitcase as the storm  
>continues outside; frequent interruptions of lightning and<br>thunder. In one flash of lightning, Lucy is alone; but in the  
>next flash, a DARK FIGURE is seen standing behind her,<br>leaning over her. It is as though he appeared in an instant,  
>from nowhere.<p>

Then, sudden complete darkness, and the loudest explosion of  
>thunder yet.<p>

A match is struck, and the oil lamp is lit. Edward Hyde  
>stands by the bed. He blows out the match, and, at the same<br>moment, Lucy turns.

She breathes in sharply, stifling a cry. Hyde smiles at her,  
>baring his teeth like an animal, then sits beside her.<br>Lightning and thunder continue, intermittently.

**HYDE  
><strong>Why, Lucy... I thought you'd be  
>more pleased to see me.<p>

**LUCY  
><strong>_(frightened)  
><em>What is it ya want from me?

**HYDE  
><strong>What every lover wants –  
>compassion, companionship...<br>_(looks at her)  
><em>Honesty.

**LUCY  
><strong>Sir, I don't know what ya mean?

He looks down at the suitcase in her hand.

**HYDE  
><strong>Lucy... you weren't thinking of  
>leaving the city, now were you?<p>

Too frightened to answer she nods her head "no."

**HYDE (CONT'D)  
><strong>No, not without saying goodbye  
>first. I warned you, Lucy.<br>_(sees the rumpled bedding)  
><em>You've had another visitor this  
>evening?<p>

**LUCY  
><strong>No, not really.

He begins to undress her, down to her corset, as he speaks.

**HYDE  
><strong>It wasn't the Doctor himself, was  
>it? No... Henry's such a very busy<br>man.  
><em>(laughs: a rasp)<br>_Your friendship with Dr. Jekyll has  
>hurt me very deeply. What is it you<br>see in him that you cannot find in  
>me?<p>

He smells the clothes he has taken from her before putting  
>them on the chest of drawers.<p>

**LUCY  
><strong>'E was kind to me, that's all.

**HYDE  
><strong>He's a very weak man. Undependable.  
>Not like me at all.<br>_(seated on the bed now)  
><em>Come to me now. Close. Closer.

He laughs quietly but dangerously.

She looks into his eyes, then slowly drags herself toward  
>him. He reaches out and embraces her tightly, her head<br>against his chest, tucked under his chin.

**LUCY  
><strong>Please...!

**HYDE  
><strong>Shhh...

As he sings to her, gently, he reveals his true identity to  
>her. He sings back to her what she thought in Jekyll's study.<br>He caresses and kisses her back, where the wound was.

SONG: "SYMPATHY, TENDERNESS" (reprise)

**HYDE (CONT'D)  
><strong>SYMPATHY, TENDERNESS,  
>WARM AS THE SUMMER<br>OFFER ME THEIR EMBRACE  
>FRIENDLINESS, GENTLENESS,<p>

She slowly begins to realize Hyde is actually Jekyll. He  
>slowly takes a long knife from beneath his grey-brown cape.<p>

**HYDE (CONT'D)  
><strong>STRANGERS TO MY LIFE,  
>THEY ARE THERE IN THIS FACE<p>

A loud peal of thunder interrupts the song.

**LUCY  
><strong>'Enry...?!

Lucy remains frozen, trembling but entranced, as Hyde, in  
>agonizing slow-motion, stabs her, first in the back, then<br>deeply into her stomach, then – almost like a slow caress –  
>slits her throat as he kisses her. Finally, he releases her<br>body, and it slumps back onto the bed, like a rag doll.

Hyde stands and wipes the blood off the knife blade on the  
>rumpled bedclothes. Suddenly, his body is shaken by a spasm –<br>then another and another. He falls to his knees, gasping for  
>air. He cries out in pain and braces himself against the<br>bedstead, burying his face in the blood-stained sheets.

A massive shudder passes through him, as he utters  
>indiscernible words in a guttural and internal fight; and,<br>when he raises his blood-stained face, it is that of Doctor  
>Henry Jekyll. He stands with difficulty, staring aghast at<br>Lucy's contorted bloody form.

**JEKYLL  
><strong>What have I done?!

Then he sees the long knife in his hand, and throws it away  
>from him, as far as he can. He gazes down at the dead girl,<br>unable to look away.

**JEKYLL (CONT'D)  
><strong>Oh, God, what have I done?...

Finally managing to tear himself away from the defiled bed,  
>wrapping the fog-colored cape, now stained with blood, around<br>him, he plunges through the narrow door, and can be heard  
>running down the hollow steps, out into the night. A long,<br>low, distant roll of thunder – then "the angels" are heard,  
>"weeping" – the innocent plaintive chant rises toward Heaven<br>and blends with the thunder.

EXT. STREETS OF LONDON - NIGHT

As Jekyll runs to get away, he is in the nightmare of his  
>full realization of all the destruction he has done.<p>

SONG: "THE WORLD HAS GONE INSANE"

**JEKYLL  
><strong>THE WORLD HAS GONE INSANE!  
>AND PARASITES<br>ARE EATING AT MY BRAIN!  
>AND NOTHING<br>IS THE WAY IT WAS BEFORE!  
>A PACK OF WOLVES<br>IS HOWLING AT MY DOOR!

I'M LIVING IN A NON-STOP NIGHTMARE!  
>DEAD MEN'S DREAMS!<br>FILLED WITH SCREAMING PAIN!  
>HURLING ME TO MAD EXTREMES<br>IN A WORLD THAT'S GONE INSANE!

THE WORLD HAS LOST ITS HEAD!  
>AND EVERY EVIL HOUR<br>IS FILLED WITH DREAD!  
>I'M FLOATING ON A LAKE –<br>BUT UPSIDE DOWN!  
>AND WHEN I TRY TO BREATHE,<br>I START TO DROWN!

As each horrible death floods his memory, he is physically  
>met with each DEAD BOARD MEMBER face to face: DEAD SAVAGE;<br>DEAD BISHOP; DEAD GLOSSOP; DEAD PROOPS; DEAD LADY  
>BEACONSFIELD. They block him in every direction he tries to<br>run.

LIGHTNING and THUNDER continue, building out of control as he  
>stumbles to get away from each of them.<p>

**JEKYLL (CONT'D)  
><strong>I CANNOT SPEAK AS  
>NAMELESS GHOSTS AND FACELESS GHOULS<br>BID ME JOIN THE DEAD!  
>NO ONE TELLS THESE GRUESOME FOOLS<br>THAT THE WORLD HAS LOST ITS HEAD!

FIENDISH CREATURES  
>LEAVE THEIR GRAVES TO TAUNT ME!<br>OLD FRIENDS  
>RISEN FROM THE DEAD TO HAUNT ME!<br>GOD FORSAKEN IMAGES THAT DAUNT ME,  
>DROWNING<br>IN AN ENDLESS FLOOD OF BLOOD!

The walking dead encroach upon him, surround him, and drive  
>him onward, as Jekyll's Harley Street residence comes into<br>view.

**JEKYLL (CONT'D)  
><strong>THE WORLD HAS GONE BERSERK!  
>AND HIDING IN THE MURK,<br>NEW MONSTERS LURK!  
>I SEE A SEA OF SNAKES<br>UPON THE FLOOR!  
>I SEE THE REAPER GRINNING<br>AT MY DOOR!  
>I SCREAM IN SILENCE!<br>BAD IS GOOD, AND GOOD IS BAD!  
>SACRED IS PROFANE!<br>AND IT'S WISER TO BE MAD...

IN A WORLD THAT'S GONE INSANE!

INT. DR. JEKYLL'S LABORATORY - NIGHT

Sounds of the storm continue, muffled, a heavy rainfall now,  
>occasional glowing lightning high in the heavens, and muted<br>thunder; Dr. Jekyll's devastated laboratory, as before.

Empty for a moment, then Jekyll throws the laboratory door  
>open and staggers into the room, still clad in Hyde's grey-<br>brown disguise. He slams the laboratory door behind himself.

Instead of turning up the gaslight, he ignites the several  
>gas and oil flames which are a part of his lab equipment, and<br>turns them all up full. The disordered laboratory is lit by  
>their flickering glare.<p>

Jekyll snatches up the journal of his work from the desk,  
>uses it to sweep various apparatus from various laboratory<br>tables; then, in a frenzy, he sets the journal on fire over  
>one of the laboratory burners, waits until it is flaming<br>brightly, and drops it into a basin.

He goes to the enormous gilt-framed mirror. He stares at his  
>soiled reflection in the eerie light of the many flames.<p>

SONG: "CONFRONTATION"

**JEKYLL  
><strong>IT'S OVER NOW, I KNOW INSIDE!  
>NO ONE MUST EVER KNOW<br>THE SORRY TALE OF EDWARD HYDE  
>AND THOSE WHO'VE DIED...<br>NO ONE MUST EVER KNOW!

THEY'D ONLY SEE THE TRAGEDY  
>THEY'D NOT SEE MY INTENT!<br>THE SHADOW OF HYDE'S EVIL  
>WOULD FOREVER KILL<br>THE GOOD THAT I HAD MEANT

He has picked up a vial and is about to drink the antidote –

**JEKYLL (CONT'D)  
><strong>AM I A GOOD MAN?  
>AM I A MAD MAN?<br>IT'S SUCH A FINE LINE  
>BETWEEN A GOOD MAN AND A...<p>

His voice is strangled, as he stares into the enormous  
>mirror, and his reflection changes, almost instantly, into<br>the ape-like grinning scowl of Edward Hyde. In the mirror,  
>but very real, Hyde laughs hideously.<p>

Jekyll retreats into the laboratory a few steps, but his  
>reflection remains that of his "other self," and it now<br>addresses him, in its rasping, animal growl.

(The following is a mental and actual physical struggle  
>between Jekyll trying to drink the antidote – and Hyde trying<br>to prevent it.)

**HYDE  
><strong>DO YOU REALLY THINK  
>THAT I WOULD EVER LET YOU GO?<br>DO YOU THINK I'D EVER SET YOU FREE?  
>IF YOU DO, I'M SAD TO SAY<br>IT SIMPLY ISN'T SO  
>YOU WILL NEVER GET AWAY FROM ME!<p>

**JEKYLL  
><strong>ALL THAT YOU ARE  
>IS A FACE IN THE MIRROR<br>I CLOSE MY EYES AND YOU DISAPPEAR!

**HYDE  
><strong>I'M WHAT YOU FACE  
>WHEN YOU FACE IN THE MIRROR<br>LONG AS YOU LIVE,  
>I WILL STILL BE HERE!<p>

**JEKYLL  
><strong>ALL THAT YOU ARE  
>IS THE END OF A NIGHTMARE<br>ALL THAT YOU ARE IS A DYING SCREAM!  
>AFTER TONIGHT,<br>I SHALL END THIS DEMON DREAM!

**HYDE  
><strong>THIS IS NOT A DREAM, MY FRIEND,  
>AND IT WILL NEVER END!<br>THIS IS THE NIGHTMARE THAT GOES ON!  
>HYDE IS HERE TO STAY,<br>NO MATTER WHAT YOU MAY PRETEND,  
>AND HE'LL FLOURISH<br>LONG AFTER YOU'RE GONE!

**JEKYLL  
><strong>SOON YOU WILL DIE  
>AND MY SILENCE WILL HIDE YOU!<br>YOU CANNOT CHOOSE  
>BUT TO LOSE CONTROL!<p>

**HYDE  
><strong>YOU CAN'T CONTROL ME!  
>I LIVE DEEP INSIDE YOU!<br>EACH DAY YOU'LL FEEL ME  
>DEVOUR YOUR SOUL!<p>

**JEKYLL  
><strong>I DON'T NEED YOU TO SURVIVE  
>LIKE YOU NEED ME!<br>I'LL BECOME WHOLE  
>AS YOU DANCE WITH DEATH!<br>AND I'LL REJOICE  
>AS YOU BREATHE YOUR FINAL BREATH!<p>

He convulses, as Hyde struggles to re-enter him.

**HYDE  
><strong>FOR I'LL LIVE INSIDE YOU FOREVER!  
>WITH SATAN HIMSELF BY MY SIDE!<br>AND I KNOW THAT NOW AND FOREVER  
>THEY'LL NEVER BE ABLE TO SEPARATE<br>JEKYLL FROM HYDE!

**JEKYLL  
><strong>CAN'T YOU SEE?  
>IT'S OVER NOW!<br>IT'S TIME TO DIE!

**HYDE  
><strong>NO, NOT I,  
>ONLY YOU!<p>

**JEKYLL  
><strong>IF I DIE,  
>YOU DIE TOO!<p>

**HYDE  
><strong>YOU'LL DIE IN ME  
>I'LL BE YOU!<p>

**JEKYLL  
><strong>DAMN YOU, HYDE!  
>SET ME FREE!<p>

**HYDE  
><strong>CAN'T YOU SEE?  
>YOU ARE ME!<p>

**JEKYLL  
><strong>NO!  
>DEEP INSIDE!<p>

**HYDE  
><strong>I AM YOU  
>YOU ARE HYDE!<p>

**JEKYLL  
><strong>No, never!

**HYDE  
><strong>Yes! Forever!

Jekyll succeeds in taking the antidote. The vessel still  
>glows and pulses faintly, magnesium white.<p>

**JEKYLL  
><strong>God damn you, Hyde! Take all your  
>evil deeds and rot in Hell!<p>

**HYDE  
><strong>_(though his voice has  
><em>_become weaker and he has  
><em>_fallen to one knee)  
><em>I'll see you there, Jekyll!

Hyde laughs, vicious mockery incarnate. Jekyll hurls the  
>glowing beaker at the enormous mirror, shattering it and the<br>vision of Edward Hyde.

**JEKYLL  
><strong>NEVER!

At the same moment, the several flaring burners in the  
>laboratory are instantly extinguished. Sudden darkness,<br>permeated by a bitter chemical smoke.


	13. Chapter 10

DARKNESS

In the blackness is heard...

**JEKYLL (V.O.)**  
>November 16th – final entry. It is<br>over. Edward Hyde walked me through  
>the very gates of Hell, and the<br>gruesome shadows of his evil shall  
>forever haunt me. The way back has<br>been littered with the corpses of  
>my shattered dreams. Yet, back from<br>the dead I have come, my salvation  
>found in the distant sound of<br>wedding bells.

A very faint echo of "the angels weeping" seems to cue the soundtrack.

The music is cued by the tolling of a bell.

INT. ST. ANNE'S CHURCH - WESTMINSTER - DAY

The bell continues, sounding more joyous all the time. The  
>ancient severe church is sumptuously but tastefully decorated<br>with white blossoms, ribbons and draperies. Through the tall,  
>narrow, faintly tinted windows on one side fall long<br>rectangles of sunlight.

The MINISTER appears at the decorated high altar. A number of  
>WEDDING GUESTS, seated on either side of the main aisle, look<br>down the aisle, watching for the bride's approach.

The sound of the bells evolves into an ominous vamp as Stride  
>enters.<p>

SONG: "FAÇADE" (reprise)

**STRIDE (V.O.)**  
>IF YOU LIVE AROUND HERE<br>LOTS OF PEOPLE, I FEAR  
>WILL MAKE PROMISES<br>THEY WILL NOT HONOR, MY DEAR  
>AND THE TRUTH IS<br>YOU END UP GETTING SCARRED.

INT. BRIDAL SUITE

Emma's wedding veil and bouquet rest on a vanity table as  
>Stride enters. He pulls Jekyll's letter out from his coat<br>pocket.

**STRIDE (V.O.)**  
>THERE'S A BEAST AT THE DOOR<br>AND HE'S WILD AND FREE  
>BUT WE DON'T LET HIM IN<br>'CAUSE WE DON'T WANT TO SEE  
>WHAT IS LURKING<br>RIGHT BEHIND THE FAÇADE!

Stride places the letter on Emma's vanity table.

INT. SANCTUARY

As the wedding guests congregate, Stride joins them.

**ALL (V.O.)**  
>MAN IS NOT ONE BUT TWO<br>HE IS EVIL AND GOOD  
>AND HE WALKS THE FINE LINE<br>THAT HE'D CROSS IF HE COULD!  
>AND HE'S WAITING...<br>HE'S JUST WAITING...  
>WE'RE ALL WAITING...<p>

INT. BRIDAL SUITE

Emma walks into her bridal suite to primp in the mirror. She  
>sees the letter and opens it, but before she can read it, Sir<br>Danvers enters. She sets the letter down and turns to him,  
>smiling.<p>

SONG: "LETTING GO"

**DANVERS**  
>I'M SCARED, MY CHILD,<br>BECAUSE I'M GOING TO LOSE YOU.  
>I FIND IT VERY HARD TO LET YOU GO!<p>

**EMMA**  
>PAPA, IF YOU TRIED TO,<br>YOU COULD NEVER LOSE ME!  
>DARLING FATHER!<br>I STILL LOVE YOU  
>MORE THAN YOU WILL EVER KNOW!<br>BUT IF WE WANT OUR LOVE TO GROW

**DANVERS**  
>I KNOW IT'S TIME;<br>I HAVE TO LET YOU GO.

**BOTH**  
>WE MUSTN'T BE AFRAID OF LETTING GO.<p>

**EMMA**  
>I love you, father.<p>

They hug and Sir Danvers leaves. Emma turns back to the  
>vanity table and picks up the letter and begins to read. Her<br>face drops and she sinks onto her chair, continuing to read.

INT. GROOM'S SUITE

Utterson and Jekyll are finishing getting ready.

**UTTERSON**  
><em>(looking in the mirror,<br>straightening his tie)_  
>Well, Henry, you're a lucky man.<p>

As Utterson turns to him, Jekyll suddenly doubles over in  
>pain.<p>

**JEKYLL**  
>Don't make a fuss – terrible<br>pain... get me out of here... I  
>need to breathe.<p>

**UTTERSON**  
>Henry! What is it?<p>

Jekyll collapses as Utterson holds him.

SONG: "THE WEDDING"

**JEKYLL**  
>OH, GOD, WHAT NOW? –<br>OH GOD, NOT NOW!  
>HELP ME SOMEHOW!<br>PLEASE TAKE THE PAIN AWAY!

FEEL IT FILL ME!  
>THIS WILL KILL ME!<br>PLEASE, GOD, WILL ME  
>SOMEHOW TO FIGHT, I PRAY!<br>OH, PLEASE HELP ME! –

Utterson helps him up.

**JEKYLL (CONT'D)**  
>GOD HAVE MERCY!<br>DON'T LET HER SEE!  
>NOT ON OUR WEDDING DAY!<p>

Pulling away from Utterson, he runs out of the groom's room  
>(a sustained scream on the word "day"). Utterson runs after<br>him.

INT. SANCTUARY

With lightning speed, Jekyll is careening down the main aisle  
>of the church, toward the entrance, toward the CAMERA. There<br>is a huge commotion. Utterson tries to stop him, but Jekyll  
>shoves Utterson out of the way. The wedding guests are frozen<br>in place, watching.

Emma runs out of the bridal room.

**EMMA**  
>Henry? ...Henry!<p>

As soon as Jekyll sees Emma, he turns to run once more, but  
>he falls to his knees, doubled-over in silent pain. Emma runs<br>to Utterson's side.

He screams in anguish. The scream, before it dies, becomes a  
>feral growl; and as Sir Danvers rushes up to confront Jekyll,<br>he is confronted by Edward Hyde, who rises into an ape-like  
>stance.<p>

**DANVERS**  
>In God's name, Doctor Jekyll –!<p>

**HYDE**  
><em>(roars)<em>  
>There is no Doctor Jekyll! There is<br>only Edward Hyde!

As he turns to them, grinning, Emma screams and the guests  
>react in horror. Hyde laughs madly, and reaches out for her.<br>Stride steps between them, brandishing his ebony walking  
>stick.<p>

**STRIDE**  
>Damn you Jekyll... Enough!<p>

**HYDE**  
>Ahh... Mister Stride!<br>_(slowly turning to him)_  
>Enough, indeed!<p>

He reaches out one claw-like hand, and Stride raises the  
>walking stick, preparing to strike.<p>

But Hyde is too fast for him. He seizes the ebony stick, and  
>uses it to pull Stride roughly up against him. He breaks<br>Stride's grip on the stick by swiveling him sharply around,  
>then pulls the stick back stiffly against Stride's throat.<br>Stride reaches for Hyde, then for the stick, but all in vain.  
>With the elated roar of a victorious beast, Hyde pulls the<br>stick back savagely, snapping Stride's neck as though he were  
>a wooden puppet.<p>

Emma cries out, as Hyde steps back and allows Stride's body  
>to sag to the floor. Then Hyde moves toward Emma again.<p>

**DANVERS**  
>For God's sake, somebody stop him!<p>

TWO MEN step forward, but Hyde shoves them back.

**HYDE**  
>Emma, my love!<p>

Hyde moves slowly toward Emma.

Utterson pulls a gun. He advances on the rasping, ape-like  
>figure.<p>

**UTTERSON**  
>Henry stay back! Don't touch her!<p>

Hyde swivels and sees Utterson and the gun.

**UTTERSON (CONT'D)**  
>I beg you! Stop, stop now!<p>

Hyde hesitates for only an instant, then laughs like a  
>howling animal, and starts toward Emma, leaving Utterson no<br>choice.

Utterson fires the gun, stopping Hyde in his tracks. Hyde  
>drops to his knees as Emma runs to him. Crowd reaction during<br>this whole scene.

**EMMA**  
>Henry! Oh, God! Henry!<p>

**UTTERSON**  
>Emma, no! Stay back!<p>

Emma crouches next to Hyde.

**EMMA**  
>Henry? Henry, it's me! If this is<br>you, Henry, show me!

Totally unexpected – Hyde's arm thrusts up and grabs Emma by  
>the throat. He leaps to his feet, grabbing her from behind.<br>Using her as a shield, he starts seeking to escape.

**DANVERS**  
>Stop him!<p>

A few MEN hesitantly move in.

**HYDE**  
>Stay! Stay away – or she dies!<p>

He drags Emma another step or two forward, then stops,  
>panting erratically. Emma reaches up and touches his<br>contorted face with one hand.

**EMMA**  
>Henry! I know you can hear me.<br>Henry, I know it is you... and I  
>know you would never harm me!<br>Never. Let me go. Henry, please...  
>Let me go...<p>

Hyde growls again, low in his throat, and holds her close, as  
>though to crush her. The others freeze where they are.<p>

After a long moment, Hyde suddenly lets his arms drop wearily  
>to his sides, weakened by Emma's unwavering love and faith,<br>and Emma slides from his grasp, gasping and choking. She  
>falls at the steps of the altar and covers her face with both<br>hands, sobbing.

Sir Danvers breaks free from the wedding guests and rushes to  
>his daughter. He raises her to her feet, as Jekyll slouches<br>away, exhausted, and turns toward Utterson and looks into  
>Utterson's eyes, pleading.<p>

**HYDE**  
><em>(not in Jekyll's voice,<br>but with his intonation;  
>opening his arms and<br>pleading in desperate  
>anguish)<em>  
>Do it John. I beg you – set me<br>free. Set us all free.

Utterson understands and points the gun at Jekyll. His hand  
>trembles.<p>

**UTTERSON**  
><em>(he hesitates)<em>  
>I – I can't.<p>

Utterson lowers his gun. Jekyll stumbles away in  
>disappointment and shame.<p>

Then suddenly, with a beastly growl, Hyde turns and advances  
>straight at Utterson. Utterson has no choice...<p>

**UTTERSON (CONT'D)**  
>Forgive me!<p>

Utterson shoots one – two – three times, as though he were  
>facing a charging animal. JekyllHyde gasps and looks at  
>Utterson piteously, smiling. He staggers and falls onto the<br>altar steps.

**EMMA**  
>No!<p>

Emma pulls free of Sir Danvers, gently but firmly, and moves  
>to where Hyde has fallen. She kneels too, and takes Jekyll<br>into her arms. She embraces him for a long moment, and, when  
>she lets his head sink back into her lap, he is Henry Jekyll<br>again, completely, finally.

**JEKYLL**  
>Emma? ...Emma! ...Emma!<p>

Emma hushes him as he touches her face.

SONG: "ONCE UPON A DREAM" (reprise)

**EMMA**  
>ONCE UPON A DREAM,<br>I WAS LOST IN LOVE'S EMBRACE  
>I HAD FOUND A PERFECT PLACE<br>ONCE UPON A DREAM

**JEKYLL  
><strong>ONCE UPON A DREAM,  
>I CONCEIVED A PERFECT PLAN<br>THAT WOULD CHANGE THE FACE OF MAN  
>ONCE UPON A DREAM<p>

**BOTH**  
>AND I WAS UNAFRAID,<br>THE DREAM WAS SO ENTICING,  
>BUT NOW I SEE IT FADE...<p>

His body goes limp as his hand falls.

**EMMA**  
>AND I AM HERE ALONE<p>

ONCE UPON A DREAM,  
>YOU WERE HEAVEN-SENT TO ME<br>WERE YOU NEVER MEANT TO BE?  
>WAS IT JUST A DREAM?<p>

COULD WE BEGIN AGAIN  
>ONCE UPON A DREAM?<p>

Weeping softly, she enfolds him in her arms, and rocks him  
>like a frightened child.<p>

Utterson stands and looks down at them. Sir Danvers moves to  
>stand beside him. No one else moves.<p>

Innocent voices, not of this earth, wind upward through the  
>air, and the bell begins to toll again as we<p>

FADE TO BLACK.


End file.
